15.8.50
1) āļāļĢāļ°āļ”āļēāļ™āđāļĨāļ°āđ€āļĄ็āļ”āļŦāļĄāļēāļ
āļŦāļĄāļēāļāļĨ้āļ­āļĄāđ€āļ›็āļ™āđ€āļāļĄāļŠ์āļ—ี่āđ€āļĨ่āļ™āļšāļ™āļāļĢāļ°āļ”āļēāļ™ 19x19
āļŦāļĢืāļ­āļˆāļ°āđ€āļĨ่āļ™āļšāļ™āļāļĢāļ°āļ”āļēāļ™āļ‚āļ™āļēāļ”āđ€āļĨ็āļ 13x13 āđāļĨāļ°9x9āļ็āđ„āļ”้
āđ‚āļ”āļĒāđāļš่āļ‡āđ€āļĄ็āļ”āļŦāļĄāļēāļāđ€āļ›็āļ™āļŠีāļ”āļģāđāļĨāļ°āļŠีāļ‚āļēāļ§āļ•่āļēāļ‡āļ่āļēāļĒāļ•่āļēāļ‡āļœāļĨัāļ”āļัāļ™āđ€āļ”ิāļ™
āđ€āļ›็āļ™āļāļēāļĢāļŠāļ­āļ™āđƒāļŦ้āđ€āļĢāļēāđƒāļŠ้āļ—āļĢัāļžāļĒāļēāļāļĢāļ—ี่āļĄีāđƒāļŦ้āđ€āļิāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™์āļ­āļĒ่āļēāļ‡āļ„ุ้āļĄāļ„่āļē





āļˆāļēāļāļĢูāļ› āđ€āļ›็āļ™āļāļĢāļ°āļ”āļēāļ™āļ‚āļ™āļēāļ” 19x19








2) āļāļ•ิāļāļēāļāļēāļĢāđ€āļĨ่āļ™

1. āļ—ั้āļ‡ 2 āļ่āļēāļĒāļˆāļ°āļ§āļēāļ‡āļŦāļĄāļēāļāļ—ี่āļˆุāļ”āļ•ัāļ”āđƒāļ”āļ็āđ„āļ”้āļšāļ™āļāļĢāļ°āļ”āļēāļ™
āđāļ•่āļ•้āļ­āļ‡āđ„āļĄ่āļ—ัāļšāļˆุāļ”āļ—ี่āļĄีāļŦāļĄāļēāļāļ‚āļ­āļ‡āļ่āļēāļĒāđƒāļ”āļ่āļēāļĒāļŦāļ™ึ่āļ‡āļ§āļēāļ‡āļ­āļĒู่āļ่āļ­āļ™āđāļĨ้āļ§
2. āđ€āļĄื่āļ­āļ§āļēāļ‡āļŦāļĄāļēāļāđāļĨ้āļ§ āļŦāļĄāļēāļāļˆāļ°āđ„āļĄ่āļĄีāļāļēāļĢāđ€āļ”ิāļ™āđ€āļĨื่āļ­āļ™āđ€āļŦāļĄืāļ­āļ™āļŦāļĄāļēāļāļĢุāļ
āđ€āļĄื่āļ­āļ§āļēāļ‡āļŦāļĄāļēāļāļˆุāļ”āđƒāļ”āđāļĨ้āļ§ āļˆāļ°āđ„āļĄ่āļŠāļēāļĄāļēāļĢāļ–āđ€āļ„āļĨื่āļ­āļ™āđ„āļ›āļˆุāļ”āļ­ื่āļ™āđ„āļ”้āđ€āļ›็āļ™āļ­ัāļ™āļ‚āļēāļ”
āļĒāļāđ€āļ§้āļ™āļŦāļĄāļēāļāļ–ูāļāļˆัāļšāļิāļ™āļˆāļ°āļ•้āļ­āļ‡āđ€āļ›็āļ™āđ€āļŠāļĨāļĒāļ‚āļ­āļ‡āļ่āļēāļĒāļ•āļĢāļ‡āļ‚้āļēāļĄāļ—ัāļ™āļ—ี
(āļˆāļ°āļ­āļ˜ิāļšāļēāļĒāļĨāļ°āđ€āļ­ีāļĒāļ” āđƒāļ™āļŦัāļ§āļ‚้āļ­āļāļ•ิāļāļēāļāļēāļĢāļˆัāļšāļิāļ™)
3. āļœู้āđ€āļĨ่āļ™āļ—ั้āļ‡ 2 āļ่āļēāļĒ āļ•้āļ­āļ‡āļžāļĒāļēāļĒāļēāļĄāđƒāļŠ้āļŦāļĄāļēāļāļ‚āļ­āļ‡āļ•āļ™āđ€āļ­āļ‡
āļĨ้āļ­āļĄāļžื้āļ™āļ—ี่āļ§่āļēāļ‡āđƒāļŦ้āđ„āļ”้āļĄāļēāļāļāļ§่āļēāļ„ู่āļ•่āļ­āļŠู้ āļ™ัāļšāļ„āļ°āđāļ™āļ™āļ•ัāļ”āļŠิāļ™
āđ‚āļ”āļĒāļ™ัāļšāļ§่āļēāļ่āļēāļĒāđƒāļ” āļĨ้āļ­āļĄāļžื้āļ™āļ—ี่āļ§่āļēāļ‡āđ„āļ”้āļĄāļēāļāļāļ§่āļē āļˆāļ°āđ€āļ›็āļ™āļ่āļēāļĒāļŠāļ™āļ°
(āļˆāļ°āļ­āļ˜ิāļšāļēāļĒāļāļēāļĢāļ™ัāļšāļ„āļ°āđāļ™āļ™āđ‚āļ”āļĒāļĨāļ°āđ€āļ­ีāļĒāļ” )

3) āđāļ•้āļĄāļ•่āļ­ (KOMI) - āđ‚āļ„āļĄิ
āļ่āļēāļĒāļ”āļģ āđ„āļ”้āđ€āļ”ิāļ™āļŦāļĄāļēāļāļ่āļ­āļ™ āļ–ืāļ­āļ§่āļēāđ€āļ›็āļ™āļ่āļēāļĒāđ„āļ”้āđ€āļ›āļĢีāļĒāļš
āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™ั้āļ™ āļˆึāļ‡āļ•้āļ­āļ‡āļĄีāđāļ•้āļĄāļ•่āļ­ āđ€āļžื่āļ­āļŠāļ”āđ€āļŠāļĒāļ„āļ§āļēāļĄāđ€āļŠีāļĒāđ€āļ›āļĢีāļĒāļšāļ‚āļ­āļ‡āļ่āļēāļĒāļ‚āļēāļ§āļ—ี่āđƒāļŦ้āļ”āļģāđ€āļ”ิāļ™āļ่āļ­āļ™
āđ‚āļ”āļĒāļ่āļēāļĒāļ‚āļēāļ§āļˆāļ°āđ„āļ”้āļ„āļ°āđāļ™āļ™āļŸāļĢี āđ† āđ„āļ›āļˆāļģāļ™āļ§āļ™āļŦāļ™ึ่āļ‡
āđ€āļĢāļēāđ€āļĢีāļĒāļāļ„āļ°āđāļ™āļ™āļˆāļģāļ™āļ§āļ™āļ™ี้āļ§่āļē "āđāļ•้āļĄāļ•่āļ­ (Komi)"
āļ‹ึ่āļ‡āļ›ัāļˆāļˆุāļšัāļ™āļāļģāļŦāļ™āļ”āļĄāļēāļ•āļĢāļāļēāļ™āļŠāļģāļŦāļĢัāļšāļāļĢāļ°āļ”āļēāļ™ 19x19 āđ„āļ§้āļ—ี่ 6.5 āļ„āļ°āđāļ™āļ™
āđāļ•้āļĄāļ•่āļ­āļ™ี้āļˆāļ°āļ™āļģāđ„āļ›āļšāļ§āļāđƒāļŦ้āļัāļšāļ„āļ°āđāļ™āļ™āļŠุāļ—āļ˜ิāļ‚āļ­āļ‡āļ่āļēāļĒāļ‚āļēāļ§āđ€āļĄื่āļ­āļˆāļšāđ€āļāļĄ
(āđ€āļžื่āļ­āļ›้āļ­āļ‡āļัāļ™āļāļēāļĢāđ€āļŠāļĄāļ­)

4) āļŦāļĄāļēāļāļ•่āļ­ Handicaps
āđ€āļžื่āļ­āđƒāļŦ้āđ€āļิāļ”āļāļēāļĢāđ€āļ—่āļēāđ€āļ—ีāļĒāļĄāļัāļ™āļ‚āļ­āļ‡āļœู้āđ€āļĨ่āļ™āļ—ี่āļĄีāļีāļĄืāļ­āļ•่āļēāļ‡āļัāļ™
āļ­āļēāļˆāļˆāļ°āđ€āļĨ่āļ™āđ€āļžื่āļ­āļŠāļ­āļ™āļ„āļ™āļŦัāļ”āđ€āļĨ่āļ™ āļŦāļĢืāļ­āđ„āļĄ่āļ็āļ§ัāļ”āļĢāļ°āļ”ัāļšāļีāļĄืāļ­-āļ—ัāļĻāļ™āļ„āļ•ิāļāļēāļĢāđ€āļĨ่āļ™āļŦāļĄāļēāļāļĨ้āļ­āļĄ
āļ™āļ­āļāļˆāļēāļāļ™ี้āđ€āļāļĄāļŠ์āļŦāļĄāļēāļāļ•่āļ­āļˆāļ°āļ–ูāļāļ™āļģāļĄāļēāđƒāļŠ้āđ€āļžื่āļ­āđƒāļŦ้āļĄีāļĢāļ°āļ”ัāļšāļāļēāļĢāđ€āļĨ่āļ™āļ—ี่āđƒāļāļĨ้āđ€āļ„ีāļĒāļ‡āļัāļ™
āđ€āļžื่āļ­āđ€āļžิ่āļĄāļ„āļ§āļēāļĄāļŠāļ™ุāļāļŠāļ™āļēāļ™āđƒāļ™āļāļēāļĢāđ€āļĨ่āļ™āļ”้āļ§āļĒ

āļˆāļēāļāļĢูāļ› āđāļŠāļ”āļ‡āļāļēāļĢāļ•่āļ­āļŦāļĄāļēāļ āļŠāļ­āļ‡āļŦāļĄāļēāļ

āļŠāļģāļŦāļĢัāļšāļŦāļĄāļēāļāļ•่āļ­ āļ•ั้āļ‡āđāļ•่ 3 āļŦāļĄāļēāļāļ‚ึ้āļ™āđ„āļ› āļ”ูāđ„āļ”้āļ—ี่āđ€āļ§็āļš
http://senseis.xmp.net/?path=Handicap&page=HandicapPlacement



āđ€āļ”ี๊āļĒāļ§āļĄāļēāļ•่āļ­āđ€āļĢื่āļ­āļ‡āļāļēāļĢāļˆัāļšāļิāļ™āļ§ัāļ™āļŦāļĨัāļ‡āļ„āļĢัāļš
āļ‚āļ­āļšāļ„ุāļ“āļĢูāļ›āļ āļēāļžāļˆāļēāļ Sensei's Libraly āđ„āļ§้ āļ“ āļ—ี่āļ™ี้āļ”้āļ§āļĒ
12.8.50
Go is a relatively simple game with few rules. Play is mainly learned
by experience. As a beginner, around 30 kyu in strength, you will
not necessarily know or understand all the rules of the game. That’s
OK, the definition of this rank is someone who does not yet know
all the rules.
You may already have been taught how to play by your instructor.
In this case, you can use this section as a reference.
If the official AGA rules are a bit of a mouthful for you, feel free
to skip them and come back later.

  1. The Board and Stones
  2. Play
  3. Compensation (komi)
  4. Handicaps
  5. Capture
  6. Repeated Board Position (Ko)
  7. Passing
  8. Illegal Moves
  9. Ending the game
  10. Disputes
  11. The Last Move
  12. Counting
Main article : About the game

Go originated in China about 4000 years ago.
Japan imported go around 800 A.D.
Players in eastern Asia have excelled at the game throughout modern times.
Go reached the western hemisphere in the late 1800’s.
Completely logical in design, the game of go has withstood the test of time.
Today go survives in its original form as the oldest game in the world.
Go is a game of skill involving no elements of chance.
Each participant seeks to control and capture more territory than the other.
The overall level of decisionmaking quality invariably determines the outcome of the game.
All the play is visible on the board.
Play begins on an empty board, except in handicapped games
(the less-experienced player generally receives an equitable head start).
The action of the game is lively and exciting, jumping from battle front to battle front as each contestant seeks an advantage of position.
From the first move each player builds a unique formation.
In fact there is so much room for individual expression that it is believed no game of go has ever been played in the exact pattern of any previous one.
Possibly there are over 10200 different patterns available.
This number is vastly larger than the estimated number of atoms in the entire universe.
A game of go can achieve a wonderful artistic intricacy, born of an individual’s intrinsic creativity and realized in the significance of the shapes that be creates on the board.
Go is an aesthetic adventure of more importance than the mere winning or losing.
However, in every game each player wins to some degree and necessarily loses to some degree, yin and yang.
The runner-up can claim a gratifying share of the accomplishments in nearly every game of go.
Action on the go board reflects a personal effort toward balance and harmony within, a spiritual as well as practical ideal.
Success on the board is related to success in this inner game.
Go inevitably challenges and expands a player’s ability to concentrate.
The compelling dynamics of a game tend to become completely absorbing.
The situations that arise from the simple objectives of go are complex enough to have thwarted all attempts to program a competitive go-playing computer.
Informed opinion doubts that a computer will soon, if ever, challenge the ability of a go professional.
Effective go strategy is sublimely subtle.
For example, a player may entice an opponent into taking a series of small victories, thereby ensuring a less-obvious but larger triumph for the strategist.
Greed and headlong aggression usually lead to downfall.
An easy solution may succeed immediately but later prove to be a severe liability.
Miscalculations are rarely final; rather, success often hinges on effective recovery from adversity, a spirited willingness to roll with the punches.
The combination of judgment and global-thinking capability necessary in high-level games is largely what reduces the most powerful existing computers and programs to virtual helplessness when faced with an experienced human opponent1.
Go is a cooperative undertaking.
Players need each other in order to enjoy the excitement of a challenging game.
Unless an opponent offers a good tussle there is no game – no disappointment but then no opportunity either, no risk but no reward.
Traditionally, go players value their opponents; a spirit of respect and courtesy ordinarily accompanies a game.
Perhaps most importantly, go is a means of communications between two people, a friendly debate, point counterpoint.
The play of each piece is a statement, the best statement that the player can make, and each is a response to the whole of the The Way To Go 2 composition.
Each play may form a simple or subtle reply, expand on other statements, or begin exploring new areas.
The potential intricacy of the interaction seems to be unlimited.
Players of any skill level can enjoy go.
Two beginners playing together can experience as much excitement as two veteran players.
A game of go can generate in the players an amazing range of emotions.
Indeed, the promise of excitement is the motivation for working through these first chapters on The Way to Go.

credit : John Baker The Way to Go

āļšāļ—āļ„āļ§āļēāļĄāļ—ี่āđ„āļ”้āļĢัāļšāļ„āļ§āļēāļĄāļ™ิāļĒāļĄ

Blog Archive

āđāļ§āļ°āļĄāļēāđāļĨ้āļ§

āļ‚ัāļšāđ€āļ„āļĨื่āļ­āļ™āđ‚āļ”āļĒ Blogger.