sabato 29 settembre 2018
venerdì 28 settembre 2018
Play Historical Hnefatafl 13x13 (Parlett)
Ded Fomich / mmagari. 20 moves.
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
mmagari / Ded Fomich. 9 moves.
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
mmagari / Mihkkal. 20 moves.
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
Mihkkal / mmagari. 21 moves.
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
Historical Hnefatafl 13x13 (Parlett)
2018-09-28
giovedì 27 settembre 2018
mercoledì 26 settembre 2018
martedì 25 settembre 2018
Play Copenhagen Hnefatafl 11x11
mmagari / jrton80. 12 moves.
Copenhagen Hnefatafl 11x11
2018-09-25
Copenhagen Hnefatafl 11x11
2018-09-25
Rollo / Plantagenet. 30 moves.
Copenhagen Hnefatafl 11x11
2018-09-25
Copenhagen Hnefatafl 11x11
2018-09-25
OdinHimself / casshern. 33 moves.
Copenhagen Hnefatafl 11x11
2018-09-18
Copenhagen Hnefatafl 11x11
2018-09-18
to play this game: http://aagenielsen.dk/
Play Saami Tablut
mmagari / Agmundr. 5 moves.
Historical Hnefatafl 9x9 (Saami Tablut)
2018-09
Historical Hnefatafl 9x9 (Saami Tablut)
2018-09
Steiger / Ded Fomich. 6 moves.
Historical Hnefatafl 9x9 (Saami Tablut)
2018-09-2
Historical Hnefatafl 9x9 (Saami Tablut)
2018-09-2
Ded Fomich / Steiger. 5 moves.
Historical Hnefatafl 9x9 (Saami Tablut)
2018-09-24
Historical Hnefatafl 9x9 (Saami Tablut)
2018-09-24
lunedì 24 settembre 2018
Go: Life Itself
Saying 'just one game'
they began to play...
That was yesterday Japanese senryu poem
There is one board game that stands above all others. The most
beautiful, most ancient, most strategic, most subtle. The king of games.
A game which teaches as much as it entertains, whose enthusiasts number
tens of millions and which has often been compared to life itself.
Print by Kitagawa Tsukimaro: Relaxing in a bath-house
Curiously in our little multicultural global village, the game is only faintly detectable on the periphery of the western cultural vision; mentioned in passing in novels, and seen briefly in movies (Pi, A Beautiful Mind), where it tends to symbolise an esoteric intellectualism. Geeks may know it only for its resistance to computer attack. Mathematicians may know it provided the inspiration for Combinatorial Game Theory, and the Surreal numbers. But despite an estimated 100,000 players in Europe, and a similar number in the USA, it is fair to say that most people have never even heard of the game. On this basis, l'd like to introduce Kuro5hin to the game of go.
"The Master said, 'Hard is it to deal with him who will stuff himself with food the whole day without applying his mind to anything good. Are there not gamesters and go players? To be one of these would still be better than doing nothing at all.' " Confucius (who had better things to do)
Go is thought to be 3,000 to 4,000 years old, making it contemporary with Stonehenge. It began in China, where it is now known as Wei'Qi, possibly growing out of the same framework as acupuncture, shiatsu and feng shui. About 1,300 years ago it spread to Japan, where it blossomed, being sponsored by the medieval state and becoming an essential samurai art. Most recently the best players have come from Korea, where it is known as Baduk and an estimated one person in ten plays the game regularly. In total there are 25 to 50 million go players in the Far East.
Through these long millennia and cultural wanderings there has been little alteration to the rules. No other game can make a similar claim to longevity and stability. And for good reason. The rules of go are so simple, yet so perfect, that it cannot be tinkered with without destroying it. Like a mathematical truth, go appears to have always been there, beyond time and space. It has been conjectured that if there are sentient beings on other planets they may also be playing go.
Traditionally go is played on a polished wooden board (known as a Goban), marked with a square grid in thin black lines. Nineteen lines in each direction by convention, though sometimes smaller boards are used for a quicker game. Each player has a bowl of lens-shaped 'stones', actually made of slate for the black and shell for the white stones; 180 stones each, effectively an unlimited supply.
"That play of black upon white, white upon black, has the intent and takes the form of creative art. It has in it a flow of the spirit and a harmony of music. Everything is lost when suddenly a false note is struck, or one party in a duet suddenly launches forth on an eccentric flight of his own. A masterpiece of a game can be ruined by insensitivity to the feelings of an adversary."
The Master of Go, by Yasunari Kawabata, winner of the Nobel Prize for Literature
A game starts with an empty board, like a bare canvas before two painters. Starting with Black, the players alternately place single stones on the intersections of the lines, gradually filling the board. Once played, the stones do not move, unless captured and removed. With time the image of the game reveals itself like a landscape through a mist, now this detail, now that, where what seems clear now may later be revealed as illusion.
For a while a sequence of stones may be played close to one another like the cut and thrust of a sword-fight. But suddenly, seemingly unpredictably, play jumps about the board to distant, unconnected regions. To some extent you can tell how good a player is by the fractal quality of his play; a poorer player will spend too long detailing an idea, where a master will sketch it lightly before moving on. By the end of the game the stones press closely against each other forming "a map of the contest of two minds".
"Lose your first fifty games as fast as possible"
Go proverb
There are only three rules in go. But that is only the beginning. These rules have implications, and the implications have implications and so it goes on, until after ten years of playing it still feels like you are learning the game. There is often a period of frustration between learning the rules and working out what you are trying to achieve. So, on the understanding that these rules alone leave much unsaid, let me explain.
The first rule says that when you're surrounded, you come off. As stones sit on the intersections they generally have four lines radiating out from under them to neighbouring intersections (except on the edge where there may be three or even just two neighbours). If a neighbour is empty it is called a 'liberty', or a 'life'. If all its lives are taken by the enemy a stone is captured and removed. Captured stones count one point, and are usually stored in the lid of the same bowl a player stores his own stones in....
Go is thought to be 3,000 to 4,000 years old, making it contemporary with Stonehenge. It began in China, where it is now known as Wei'Qi, possibly growing out of the same framework as acupuncture, shiatsu and feng shui. About 1,300 years ago it spread to Japan, where it blossomed, being sponsored by the medieval state and becoming an essential samurai art. Most recently the best players have come from Korea, where it is known as Baduk and an estimated one person in ten plays the game regularly. In total there are 25 to 50 million go players in the Far East.
Through these long millennia and cultural wanderings there has been little alteration to the rules. No other game can make a similar claim to longevity and stability. And for good reason. The rules of go are so simple, yet so perfect, that it cannot be tinkered with without destroying it. Like a mathematical truth, go appears to have always been there, beyond time and space. It has been conjectured that if there are sentient beings on other planets they may also be playing go.
Traditionally go is played on a polished wooden board (known as a Goban), marked with a square grid in thin black lines. Nineteen lines in each direction by convention, though sometimes smaller boards are used for a quicker game. Each player has a bowl of lens-shaped 'stones', actually made of slate for the black and shell for the white stones; 180 stones each, effectively an unlimited supply.
"That play of black upon white, white upon black, has the intent and takes the form of creative art. It has in it a flow of the spirit and a harmony of music. Everything is lost when suddenly a false note is struck, or one party in a duet suddenly launches forth on an eccentric flight of his own. A masterpiece of a game can be ruined by insensitivity to the feelings of an adversary."
The Master of Go, by Yasunari Kawabata, winner of the Nobel Prize for Literature
A game starts with an empty board, like a bare canvas before two painters. Starting with Black, the players alternately place single stones on the intersections of the lines, gradually filling the board. Once played, the stones do not move, unless captured and removed. With time the image of the game reveals itself like a landscape through a mist, now this detail, now that, where what seems clear now may later be revealed as illusion.
For a while a sequence of stones may be played close to one another like the cut and thrust of a sword-fight. But suddenly, seemingly unpredictably, play jumps about the board to distant, unconnected regions. To some extent you can tell how good a player is by the fractal quality of his play; a poorer player will spend too long detailing an idea, where a master will sketch it lightly before moving on. By the end of the game the stones press closely against each other forming "a map of the contest of two minds".
"Lose your first fifty games as fast as possible"
Go proverb
There are only three rules in go. But that is only the beginning. These rules have implications, and the implications have implications and so it goes on, until after ten years of playing it still feels like you are learning the game. There is often a period of frustration between learning the rules and working out what you are trying to achieve. So, on the understanding that these rules alone leave much unsaid, let me explain.
The first rule says that when you're surrounded, you come off. As stones sit on the intersections they generally have four lines radiating out from under them to neighbouring intersections (except on the edge where there may be three or even just two neighbours). If a neighbour is empty it is called a 'liberty', or a 'life'. If all its lives are taken by the enemy a stone is captured and removed. Captured stones count one point, and are usually stored in the lid of the same bowl a player stores his own stones in....
....Now territory is much easier to surround because it doesn't run away or fight back, and there are huge swathes of it to go for right from the start. So go is a game of territorial acquisition, often described as like two races settling a new land, or even two companies trying to capture a market. The emphasis is upon speed, efficiency and lightness, dropping stones into empty spaces to stake a claim, then leaving them to prove themselves.
So you play your stones, but paradoxically it is not your stones which matter. You don't want them captured because they allow you to surround territory etc., but they have little worth of their own. During the course of a game many stones will be sacrificed deliberately by both sides. This may offend modern notions of justice, and it certainly confuses play. The stones can blind, swarming like flies. You know you can kill some, and some will have to live, but which? Beginners will often, from pity, try to rescue stones that were serving more effectively in sacrifice. The temptation to become 'attached' to your stones, in the Buddhist sense, increases as the groups become larger.
"The board has to be square, for it signifies the Earth, and its right angles signify uprightness. The pieces of the two sides are yellow and black; this difference signifies the Yin and the Yang; scattered in groups all over the board, they represent the heavenly bodies. These significances being manifest, it is up to the players to make the moves, and this is connected with kingship. Following what the rules permit, both opponents are subject to them; this is the rigor of the Tao."
Pan Ku, 1st century historian
One verse of the great Tao Te Ching asserts the value of nonexistence, showing that the utility of a cup is the emptiness inside it, and the utility of a wheel comes from the inner hole on which it turns. These deep metaphors are found reflected in go. At a simple level, it is not the number of stones connected into a group that determines whether it lives, but the number of empty liberties you haven't played on. Similarly your stones do not add to your score in any way, only the empty territory they surround. Playing additional stones in your territory actually deducts from your score.
"Yield, and maintain integrity.
To bend is to be upright;
to be empty is to be full"
Tao Te Ching....
So you play your stones, but paradoxically it is not your stones which matter. You don't want them captured because they allow you to surround territory etc., but they have little worth of their own. During the course of a game many stones will be sacrificed deliberately by both sides. This may offend modern notions of justice, and it certainly confuses play. The stones can blind, swarming like flies. You know you can kill some, and some will have to live, but which? Beginners will often, from pity, try to rescue stones that were serving more effectively in sacrifice. The temptation to become 'attached' to your stones, in the Buddhist sense, increases as the groups become larger.
"The board has to be square, for it signifies the Earth, and its right angles signify uprightness. The pieces of the two sides are yellow and black; this difference signifies the Yin and the Yang; scattered in groups all over the board, they represent the heavenly bodies. These significances being manifest, it is up to the players to make the moves, and this is connected with kingship. Following what the rules permit, both opponents are subject to them; this is the rigor of the Tao."
Pan Ku, 1st century historian
One verse of the great Tao Te Ching asserts the value of nonexistence, showing that the utility of a cup is the emptiness inside it, and the utility of a wheel comes from the inner hole on which it turns. These deep metaphors are found reflected in go. At a simple level, it is not the number of stones connected into a group that determines whether it lives, but the number of empty liberties you haven't played on. Similarly your stones do not add to your score in any way, only the empty territory they surround. Playing additional stones in your territory actually deducts from your score.
"Yield, and maintain integrity.
To bend is to be upright;
to be empty is to be full"
Tao Te Ching....
....Taoism stresses that flexibility and change are vital. This is fundamental to go, as is the Tao's emphasis on harmony and balance. Enthusiasts of Judo, Tae Kwan Do and other eastern martial arts will understand these ideas. Go, too, was considered a martial art by the samurai, and the more you understand go the greater becomes your appreciation of these Taoist principles.
"If this were go
I'd start a ko fight
and surely live,
but on the road to death
there's no move left at all."
Poem attributed to Sansa, the first Honinbo (leader of a prestigious Japanese go school) and founder of that line. He is said to have composed it on his deathbed in 1623.
There is a certain formation of black and white stones whereby one player can capture a stone, but is then liable to immediate recapture, returning the board exactly to its previous position. The captures could therefore repeat indefinitely. This formation is not unreasonably called 'ko', the Japanese for eternity. It occurs frequently, usually many times in a game. Even worse, ko situations can arise where it is worth a lot of points to be the last person to capture. Given the choice each player might repeat indefinitely.
The third rule provides an orderly escape. It says that after player A captures a stone in a ko, player B cannot take back immediately. He must play at least one move elsewhere first. This gives A an opportunity to destroy the ko formation. If he doesn't do so, and the ko still exists on B's subsequent turn, the roles may reverse. B may take back, forcing A to 'play away' for a turn.
It is not all bad for the person who has to play away from a big ko. If he can find somewhere on the board where two consecutive moves would be worth even more than winning the ko, the other player will be forced to respond, leaving the ko intact and available. Good players deliberately leave situations unresolved across the board to be used like this as 'ko threats' later, and a ko can develop into a complex fight. Or if a situation is resolving adversely for a player he may abandon it early, aiming to rescue it later with the two free moves that a ko fight offers....
"If this were go
I'd start a ko fight
and surely live,
but on the road to death
there's no move left at all."
Poem attributed to Sansa, the first Honinbo (leader of a prestigious Japanese go school) and founder of that line. He is said to have composed it on his deathbed in 1623.
There is a certain formation of black and white stones whereby one player can capture a stone, but is then liable to immediate recapture, returning the board exactly to its previous position. The captures could therefore repeat indefinitely. This formation is not unreasonably called 'ko', the Japanese for eternity. It occurs frequently, usually many times in a game. Even worse, ko situations can arise where it is worth a lot of points to be the last person to capture. Given the choice each player might repeat indefinitely.
The third rule provides an orderly escape. It says that after player A captures a stone in a ko, player B cannot take back immediately. He must play at least one move elsewhere first. This gives A an opportunity to destroy the ko formation. If he doesn't do so, and the ko still exists on B's subsequent turn, the roles may reverse. B may take back, forcing A to 'play away' for a turn.
It is not all bad for the person who has to play away from a big ko. If he can find somewhere on the board where two consecutive moves would be worth even more than winning the ko, the other player will be forced to respond, leaving the ko intact and available. Good players deliberately leave situations unresolved across the board to be used like this as 'ko threats' later, and a ko can develop into a complex fight. Or if a situation is resolving adversely for a player he may abandon it early, aiming to rescue it later with the two free moves that a ko fight offers....
"Go is to Western chess what philosophy is to double entry accounting"
Shibumi, bestseller by Trevanian
To many go players chess is the 'c' word, but the main reason to mention chess in a go article is not to disrespect it, but to provide a reference point. The two certainly seem like diametrical opposites. Chess has complex rules, go simple ones. Chess eliminates, go accumulates. Chess pieces are hierarchical, go pieces are equal. Chess is a battle, go is a war of many battles. Someone famously wrote a PhD thesis on the theme that in the Vietnam war, the Vietcong were using go strategy while the US military were playing chess. Personally I like chess, but I think go is in a different league.
My favourite theory is that chess is a variant of go. Despite the received wisdom that chess was invented in India or, even less likely, Persia, there is evidence to suggest its origin may actually have been China. There are more chess-variants in the Far East than anywhere else, and there is controversial documentary evidence in China that precedes anything in India. As it happens, Chinese chess, called "Xiangqi", is the only variant played with small round medallions inscribed with the name of the piece. It is also the only variant played on the intersections of the grid rather than inside the squares. The board has 9 x 9 intersections, like many small go boards, which corresponds to 8 x 8 squares. I'm not sure if anyone believes this but me (and you?), but it is such a neat idea I would be disappointed if it were disproved. It may be that go, chess, backgammon and playing cards were all invented in China.
"A bad plan is better than no plan at all"
Go proverb
"In the beginning, have no plan"
Go Proverb....
Shibumi, bestseller by Trevanian
To many go players chess is the 'c' word, but the main reason to mention chess in a go article is not to disrespect it, but to provide a reference point. The two certainly seem like diametrical opposites. Chess has complex rules, go simple ones. Chess eliminates, go accumulates. Chess pieces are hierarchical, go pieces are equal. Chess is a battle, go is a war of many battles. Someone famously wrote a PhD thesis on the theme that in the Vietnam war, the Vietcong were using go strategy while the US military were playing chess. Personally I like chess, but I think go is in a different league.
My favourite theory is that chess is a variant of go. Despite the received wisdom that chess was invented in India or, even less likely, Persia, there is evidence to suggest its origin may actually have been China. There are more chess-variants in the Far East than anywhere else, and there is controversial documentary evidence in China that precedes anything in India. As it happens, Chinese chess, called "Xiangqi", is the only variant played with small round medallions inscribed with the name of the piece. It is also the only variant played on the intersections of the grid rather than inside the squares. The board has 9 x 9 intersections, like many small go boards, which corresponds to 8 x 8 squares. I'm not sure if anyone believes this but me (and you?), but it is such a neat idea I would be disappointed if it were disproved. It may be that go, chess, backgammon and playing cards were all invented in China.
"A bad plan is better than no plan at all"
Go proverb
"In the beginning, have no plan"
Go Proverb....
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd). Primi tentativi...
Mihkkal / mmagari. 6 moves.
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
mmagari / Agmundr. 20 moves.
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
mmagari / Agmundr. 20 moves.
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
mmagari / Marcin. 6 moves.
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
Historical Hnefatafl 11x11 (Welsh Tawlbwrdd)
2018-09-24
domenica 23 settembre 2018
sabato 22 settembre 2018
Ke Jie vs Kim Jiseok 2018“1届天府杯世界职业锦标赛” 柯洁vs金志锡 讲解
1st Tianfu Cup
Ke Jie 9p (Black) vs. Kim Jiseok 9p (White)
venerdì 21 settembre 2018
giovedì 20 settembre 2018
mercoledì 19 settembre 2018
Una manovra istruttiva: Magnus Carlsen vs Hikaru Nakamura || Sinquefield Cup 2018 - Round 9
HAPPY ENDING!! Magnus Carlsen vs Hikaru Nakamura || Sinquefield Cup 2018
- Round 9
Nakamura thought he can draw this game, but Carlsen didn't think so! And
He's right OMG! :O
For the sixth straight year the 2018 Sinquefield Cup is here. Part of
the Grand Chess Tour, the Sinquefield Cup brings 10 of the top World
Players to battle it out across the board for $300,000
martedì 18 settembre 2018
The most beautiful finish ever by Sergei Lobanov
Sergei Lobanov is 2535 IM from Russia and has one GM norm. He is clearly
very strong, but is struggling to make his GM norms. At the World
Juniors 2018, he achieved his 2nd GM norm and also won the bronze medal.
In the final round he beat his opponent by promoting two of his pawns
to a queen, thereby having three white queens on the board at one point
of time. After the game he spoke with IM Sagar Shah and analyzed the
game in depth.
lunedì 17 settembre 2018
Three white queens in the middlegame | Lobanov - Christiansen |
One of the most crucial games of the last round of the World Juniors
2018 was Lobanov versus Johan-Sebastien Christiansen. It was an exciting
game with Lobanov in deep time trouble, but he had calculated
everything well. The end was just picturesque!
domenica 16 settembre 2018
Former world under-18 champion and top Slovenian player Laura Unuk
Laura Unuk is the top Slovenian women's player. She is also the former
under-18 world champion. At the World Juniors 2018 she hasn't been
having a great tournament. In the 10th round of the championship she
lost her game against IM Stavroula Tsolakidou. Naturally the result was
disheartening for her, but she agreed to the interview and replied to
all the questions in a calm and composed manner.
How did she do it? How did she manage to keep her cool in spite of
losing the game. We ask Laura about it and learn from her answers.
Crucial final round match ups for World Junior 2018
The last round of World Juniors has begun, this time five hours before the normal time as it is the last round! IM Sagar Shah brings you all the critical matches and what are the chances for medals of the players. Do let us know your predictions in the comments section below.
venerdì 14 settembre 2018
Hungarian Go Association : Diána Kőszegi
http://goszovetseg.hu/?lang=en
https://en.wikipedia.org/wiki/Di%C3%A1na_K%C5%91szegi
9 éves korában kezdett gózni, a go alapjait édesapjától tanulta. 11 évesen kezdte el tanítani Pocsai Tibor, aki 1988-ban Európa-bajnok volt.
1996-ban ismerte meg a 9 profi danos Yasuda Yasutoshit, akivel Yuki Shigeno segítségével tudta tartani a kapcsolatot.
1998-ban az Amatőr Go Világbajnokságon 9. helyezést ért el, és ennek hatására Japánba és Koreába is meghívták, hogy tanuljon ott mint insei, de a szülei a korára való tekintettel ezt nem engedték.
2000 márciusában megnyerte az ifjúsági Európa-bajnokságot, miután az előző kettőn második lett, majd ugyanebben az évben magyar gobajnok lett.
2001-ben másfél hónapot töltött Japánban Kobayashi Chizu és Satoru jóvoltából.
2003-ban a Koreában rendezett Világbajnokságon is részt vett, és a KimWon Baduk Akadémiára, Mr Eo Jong Soo (7 dan, koreai amatőr) jóvoltából kapott egy meghívást.
2004-ben utazott ki először 3 hónapra Koreába, ahonnan ekkor még vissza kellett térnie, mivel nem tudta meghosszabbítania a vízumát.
2005-től a koreai Myongji egyetemen tanul.
2008-ban a koreai goszövetségtől (harmadik európaiként) megkapta a tiszteletbeli profi danos címet.
https://hu.wikipedia.org/wiki/K%C5%91szegi_Di%C3%A1na
Diána Kőszegi (born 1983, in Hungary) is the first Hungarian[1] professional Go player. She became only the sixth European professional when she was promoted to professional by the Korean Go Association on January 4, 2008.
Kőszegi Diána was born in August 1983 in Budapest.
She began playing Go at age 9. She was initially taught by her father,
Kőszegi Sándor (who teaches Go to elementary schools students). At age
11 she began studying under Pocsai Tibor,
the winner of the European Go Championship in 1988. During her study of
Go, she also began to teach others. She teaches Go on the KGS Go Server.
In 1996, she met 9 dan professional Yasutoshi Yasuda,
with whom she kept in contact thanks to Shigeno Yuki, a friend who
Diána considers as close as a sister. Diána wanted to be Yasuda's pupil,
but this was not to be. Yasuda was very busy at that time. Both Yasuda
and Yuki were a big influence on her.
When she was 14 she came 4th at the 1st World Women Amateur Baduk Championship, held in 1997 in Seoul. In the following autumn, she finished 2nd in the 2nd European Women Amateur Go Championship.
She came 9th at the female equivalent of the World Amateur Go Championship in 1998, and was invited to Japan and Korea to study as an insei. Considering her young age, her family did not let her go.
In March 2000, she won the European Youth Go Championship that was held in Sinaia.
She came 2nd in the previous two years, and again in 2001. In the same
year, even though she finished only joint 8th at the Hungarian Go
Championship, winning the play-offs between the top 6, she became the
Hungarian Go Champion. She was the first Hungarian invited to
professional competitions in China, while still an amateur. Representing
Europe, she entered three competitions in 2000 (Shanghai), 2001 (Guiyang), and 2002 (Hong Kong).
Since 2001 she has continued studying Go, without a tutor. In
2001, she stayed in Japan for 1.5 months thanks to the sister and
brother Kobayashi Chizu and Kobayashi Satoru. In 2003 she went to the Hungarian university, ELTE.
She studied at the programming mathematician department, but she did
not complete her course, because of an invitation from the KimWon Baduk Academy, thanks to Mr Eo Jong Soo (7 dan Korean). She got to know him at the World Championship held in Korea in 2003.
She went to Korea in 2004 for 3 months, but then returned because
she could not extend her visa. Until she was promoted to professional,
from 2005 as an insei she was competing at the league in Seoul. In 2005,
she studied at the Korean Myongji University
and started teaching Go on-line. She became the sixth European
professional, when she was promoted to professional by the Korean Go
Association on January 4, 2008.
She translated the Go book 21st Century New Openings, by Kim Sung Rae (4 Dan), into English.
https://en.wikipedia.org/wiki/Di%C3%A1na_K%C5%91szegi
9 éves korában kezdett gózni, a go alapjait édesapjától tanulta. 11 évesen kezdte el tanítani Pocsai Tibor, aki 1988-ban Európa-bajnok volt.
1996-ban ismerte meg a 9 profi danos Yasuda Yasutoshit, akivel Yuki Shigeno segítségével tudta tartani a kapcsolatot.
1998-ban az Amatőr Go Világbajnokságon 9. helyezést ért el, és ennek hatására Japánba és Koreába is meghívták, hogy tanuljon ott mint insei, de a szülei a korára való tekintettel ezt nem engedték.
2000 márciusában megnyerte az ifjúsági Európa-bajnokságot, miután az előző kettőn második lett, majd ugyanebben az évben magyar gobajnok lett.
2001-ben másfél hónapot töltött Japánban Kobayashi Chizu és Satoru jóvoltából.
2003-ban a Koreában rendezett Világbajnokságon is részt vett, és a KimWon Baduk Akadémiára, Mr Eo Jong Soo (7 dan, koreai amatőr) jóvoltából kapott egy meghívást.
2004-ben utazott ki először 3 hónapra Koreába, ahonnan ekkor még vissza kellett térnie, mivel nem tudta meghosszabbítania a vízumát.
2005-től a koreai Myongji egyetemen tanul.
2008-ban a koreai goszövetségtől (harmadik európaiként) megkapta a tiszteletbeli profi danos címet.
https://hu.wikipedia.org/wiki/K%C5%91szegi_Di%C3%A1na
giovedì 13 settembre 2018
mercoledì 12 settembre 2018
World Tafl Federation Rating Top 10 players, 9 - 2018
Dal sito della WTF http://aagenielsen.dk/
2067 casshern, Los Angeles, USA (711) (IM) (Bers.) (Sea) (Hist.) (Quad.)
2027 Plantagenet, Châlons-en-Champagne, FR (473) (GM)
1901 herjan, Formby, UK (234) (GM)
1899 OdinHimself, Kyustendil, Bulgaria (317) (IM)
1863 mmagari, Milano, Italia (740)
1862 Adam, Tønsberg, Norway (670) (GM)
1849 crust, somerset, UK (3037) (GM)
1806 Ded Fomich, Moscow, Russia (325)
1796 nath, Berlin, (361) (GM)
1786 fjorlag, Valhalla, (136)
martedì 11 settembre 2018
Mythes et légendes du jeu de go (Weiqi)
Selon une tradition chinoise, ce serait deux
dragons appelés Hei-Zi (le noir) et Bai-Zi (le blanc) se disputant pour
savoir lequel des deux était le plus puissant qui créèrent le wéiqí (nom
chinois du go) pour se départager. Les dieux envoyèrent alors un
troisième dragon observer la partie et lui ordonnèrent de ne revenir
faire son rapport qu'une fois celle-ci terminée. Leurs règles étaient
les mêmes que les nôtres aujourd'hui, si ce n'est que la règle du ko
n'existait pas puisque, étant immortels, ils étaient infiniment
patients. Les dragons jouent donc depuis des milliers d'années et chaque
millénaire, les dieux envoient un nouvel observateur. Actuellement,
cinq dragons observent le jeu et un sixième devrait être envoyé dans
quelques années.
Sur le plan historique, bien que le wéiqí soit très ancien, les datations qui lui attribuent plus de 4 000 ans d'âge ne reposent que sur des récits légendaires que rien ne vient étayer mais que beaucoup ont pris pour argent comptant. Seule certitude, le jeu fut inventé bien avant notre ère en Chine. Son attribution à l'un ou l'autre des empereurs légendaires Yao ou Shun, chacun l'ayant utilisé pour l'éducation de leur fils, n'a aucun fondement historique. Pas plus d'ailleurs qu'une autre légende qui en attribue l'invention à un vassal, s'appelant U, qui l'aurait imaginé, quant à lui, pour distraire son suzerain sous le règne de Jie Gui au XVIIe siècle av. J.-C.
Certains chercheurs voient dans l'art divinatoire chinois du Yi Jing de nombreuses analogies avec le wéiqí qui pourrait en être le vecteur matériel.
Iscriviti a:
Post (Atom)