15.8.50
1) āļāļĢāļ°āļāļēāļāđāļĨāļ°āđāļĄ็āļāļŦāļĄāļēāļ
āļŦāļĄāļēāļāļĨ้āļāļĄāđāļ็āļāđāļāļĄāļŠ์āļี่āđāļĨ่āļāļāļāļāļĢāļ°āļāļēāļ 19x19
āļŦāļĢืāļāļāļ°āđāļĨ่āļāļāļāļāļĢāļ°āļāļēāļāļāļāļēāļāđāļĨ็āļ 13x13 āđāļĨāļ°9x9āļ็āđāļ้
āđāļāļĒāđāļ่āļāđāļĄ็āļāļŦāļĄāļēāļāđāļ็āļāļŠีāļāļģāđāļĨāļ°āļŠีāļāļēāļ§āļ่āļēāļāļ่āļēāļĒāļ่āļēāļāļāļĨัāļāļัāļāđāļิāļ
āđāļ็āļāļāļēāļĢāļŠāļāļāđāļŦ้āđāļĢāļēāđāļ้āļāļĢัāļāļĒāļēāļāļĢāļี่āļĄีāđāļŦ้āđāļิāļāļāļĢāļ°āđāļĒāļāļ์āļāļĒ่āļēāļāļุ้āļĄāļ่āļē

āļāļēāļāļĢูāļ āđāļ็āļāļāļĢāļ°āļāļēāļāļāļāļēāļ 19x19
2) āļāļิāļāļēāļāļēāļĢāđāļĨ่āļ
1. āļั้āļ 2 āļ่āļēāļĒāļāļ°āļ§āļēāļāļŦāļĄāļēāļāļี่āļุāļāļัāļāđāļāļ็āđāļ้āļāļāļāļĢāļ°āļāļēāļ
āđāļ่āļ้āļāļāđāļĄ่āļัāļāļุāļāļี่āļĄีāļŦāļĄāļēāļāļāļāļāļ่āļēāļĒāđāļāļ่āļēāļĒāļŦāļึ่āļāļ§āļēāļāļāļĒู่āļ่āļāļāđāļĨ้āļ§
2. āđāļĄื่āļāļ§āļēāļāļŦāļĄāļēāļāđāļĨ้āļ§ āļŦāļĄāļēāļāļāļ°āđāļĄ่āļĄีāļāļēāļĢāđāļิāļāđāļĨื่āļāļāđāļŦāļĄืāļāļāļŦāļĄāļēāļāļĢุāļ
āđāļĄื่āļāļ§āļēāļāļŦāļĄāļēāļāļุāļāđāļāđāļĨ้āļ§ āļāļ°āđāļĄ่āļŠāļēāļĄāļēāļĢāļāđāļāļĨื่āļāļāđāļāļุāļāļื่āļāđāļ้āđāļ็āļāļัāļāļāļēāļ
āļĒāļāđāļ§้āļāļŦāļĄāļēāļāļูāļāļัāļāļิāļāļāļ°āļ้āļāļāđāļ็āļāđāļāļĨāļĒāļāļāļāļ่āļēāļĒāļāļĢāļāļ้āļēāļĄāļัāļāļี
(āļāļ°āļāļิāļāļēāļĒāļĨāļ°āđāļีāļĒāļ āđāļāļŦัāļ§āļ้āļāļāļิāļāļēāļāļēāļĢāļัāļāļิāļ)
3. āļู้āđāļĨ่āļāļั้āļ 2 āļ่āļēāļĒ āļ้āļāļāļāļĒāļēāļĒāļēāļĄāđāļ้āļŦāļĄāļēāļāļāļāļāļāļāđāļāļ
āļĨ้āļāļĄāļื้āļāļี่āļ§่āļēāļāđāļŦ้āđāļ้āļĄāļēāļāļāļ§่āļēāļู่āļ่āļāļŠู้ āļัāļāļāļ°āđāļāļāļัāļāļŠิāļ
āđāļāļĒāļัāļāļ§่āļēāļ่āļēāļĒāđāļ āļĨ้āļāļĄāļื้āļāļี่āļ§่āļēāļāđāļ้āļĄāļēāļāļāļ§่āļē āļāļ°āđāļ็āļāļ่āļēāļĒāļāļāļ°
(āļāļ°āļāļิāļāļēāļĒāļāļēāļĢāļัāļāļāļ°āđāļāļāđāļāļĒāļĨāļ°āđāļีāļĒāļ )
3) āđāļ้āļĄāļ่āļ (KOMI) - āđāļāļĄิ
āļ่āļēāļĒāļāļģ āđāļ้āđāļิāļāļŦāļĄāļēāļāļ่āļāļ āļืāļāļ§่āļēāđāļ็āļāļ่āļēāļĒāđāļ้āđāļāļĢีāļĒāļ
āđāļāļĢāļēāļ°āļāļ°āļั้āļ āļึāļāļ้āļāļāļĄีāđāļ้āļĄāļ่āļ āđāļื่āļāļāļāđāļāļĒāļāļ§āļēāļĄāđāļŠีāļĒāđāļāļĢีāļĒāļāļāļāļāļ่āļēāļĒāļāļēāļ§āļี่āđāļŦ้āļāļģāđāļิāļāļ่āļāļ
āđāļāļĒāļ่āļēāļĒāļāļēāļ§āļāļ°āđāļ้āļāļ°āđāļāļāļāļĢี āđ āđāļāļāļģāļāļ§āļāļŦāļึ่āļ
āđāļĢāļēāđāļĢีāļĒāļāļāļ°āđāļāļāļāļģāļāļ§āļāļี้āļ§่āļē "āđāļ้āļĄāļ่āļ (Komi)"
āļึ่āļāļัāļāļุāļัāļāļāļģāļŦāļāļāļĄāļēāļāļĢāļāļēāļāļŠāļģāļŦāļĢัāļāļāļĢāļ°āļāļēāļ 19x19 āđāļ§้āļี่ 6.5 āļāļ°āđāļāļ
āđāļ้āļĄāļ่āļāļี้āļāļ°āļāļģāđāļāļāļ§āļāđāļŦ้āļัāļāļāļ°āđāļāļāļŠุāļāļิāļāļāļāļ่āļēāļĒāļāļēāļ§āđāļĄื่āļāļāļāđāļāļĄ
(āđāļื่āļāļ้āļāļāļัāļāļāļēāļĢāđāļŠāļĄāļ)
4) āļŦāļĄāļēāļāļ่āļ Handicaps
āđāļื่āļāđāļŦ้āđāļิāļāļāļēāļĢāđāļ่āļēāđāļีāļĒāļĄāļัāļāļāļāļāļู้āđāļĨ่āļāļี่āļĄีāļีāļĄืāļāļ่āļēāļāļัāļ
āļāļēāļāļāļ°āđāļĨ่āļāđāļื่āļāļŠāļāļāļāļāļŦัāļāđāļĨ่āļ āļŦāļĢืāļāđāļĄ่āļ็āļ§ัāļāļĢāļ°āļัāļāļีāļĄืāļ-āļัāļĻāļāļāļิāļāļēāļĢāđāļĨ่āļāļŦāļĄāļēāļāļĨ้āļāļĄ
āļāļāļāļāļēāļāļี้āđāļāļĄāļŠ์āļŦāļĄāļēāļāļ่āļāļāļ°āļูāļāļāļģāļĄāļēāđāļ้āđāļื่āļāđāļŦ้āļĄีāļĢāļ°āļัāļāļāļēāļĢāđāļĨ่āļāļี่āđāļāļĨ้āđāļีāļĒāļāļัāļ
āđāļื่āļāđāļิ่āļĄāļāļ§āļēāļĄāļŠāļุāļāļŠāļāļēāļāđāļāļāļēāļĢāđāļĨ่āļāļ้āļ§āļĒ
āļāļēāļāļĢูāļ āđāļŠāļāļāļāļēāļĢāļ่āļāļŦāļĄāļēāļ āļŠāļāļāļŦāļĄāļēāļ
āļŠāļģāļŦāļĢัāļāļŦāļĄāļēāļāļ่āļ āļั้āļāđāļ่ 3 āļŦāļĄāļēāļāļึ้āļāđāļ āļูāđāļ้āļี่āđāļ§็āļ
http://senseis.xmp.net/?path=Handicap&page=HandicapPlacement
āđāļี๊āļĒāļ§āļĄāļēāļ่āļāđāļĢื่āļāļāļāļēāļĢāļัāļāļิāļāļ§ัāļāļŦāļĨัāļāļāļĢัāļ
āļāļāļāļุāļāļĢูāļāļ āļēāļāļāļēāļ Sensei's Libraly āđāļ§้ āļ āļี่āļี้āļ้āļ§āļĒ
āļŦāļĄāļēāļāļĨ้āļāļĄāđāļ็āļāđāļāļĄāļŠ์āļี่āđāļĨ่āļāļāļāļāļĢāļ°āļāļēāļ 19x19
āļŦāļĢืāļāļāļ°āđāļĨ่āļāļāļāļāļĢāļ°āļāļēāļāļāļāļēāļāđāļĨ็āļ 13x13 āđāļĨāļ°9x9āļ็āđāļ้
āđāļāļĒāđāļ่āļāđāļĄ็āļāļŦāļĄāļēāļāđāļ็āļāļŠีāļāļģāđāļĨāļ°āļŠีāļāļēāļ§āļ่āļēāļāļ่āļēāļĒāļ่āļēāļāļāļĨัāļāļัāļāđāļิāļ
āđāļ็āļāļāļēāļĢāļŠāļāļāđāļŦ้āđāļĢāļēāđāļ้āļāļĢัāļāļĒāļēāļāļĢāļี่āļĄีāđāļŦ้āđāļิāļāļāļĢāļ°āđāļĒāļāļ์āļāļĒ่āļēāļāļุ้āļĄāļ่āļē

āļāļēāļāļĢูāļ āđāļ็āļāļāļĢāļ°āļāļēāļāļāļāļēāļ 19x19
2) āļāļิāļāļēāļāļēāļĢāđāļĨ่āļ
1. āļั้āļ 2 āļ่āļēāļĒāļāļ°āļ§āļēāļāļŦāļĄāļēāļāļี่āļุāļāļัāļāđāļāļ็āđāļ้āļāļāļāļĢāļ°āļāļēāļ
āđāļ่āļ้āļāļāđāļĄ่āļัāļāļุāļāļี่āļĄีāļŦāļĄāļēāļāļāļāļāļ่āļēāļĒāđāļāļ่āļēāļĒāļŦāļึ่āļāļ§āļēāļāļāļĒู่āļ่āļāļāđāļĨ้āļ§
2. āđāļĄื่āļāļ§āļēāļāļŦāļĄāļēāļāđāļĨ้āļ§ āļŦāļĄāļēāļāļāļ°āđāļĄ่āļĄีāļāļēāļĢāđāļิāļāđāļĨื่āļāļāđāļŦāļĄืāļāļāļŦāļĄāļēāļāļĢุāļ
āđāļĄื่āļāļ§āļēāļāļŦāļĄāļēāļāļุāļāđāļāđāļĨ้āļ§ āļāļ°āđāļĄ่āļŠāļēāļĄāļēāļĢāļāđāļāļĨื่āļāļāđāļāļุāļāļื่āļāđāļ้āđāļ็āļāļัāļāļāļēāļ
āļĒāļāđāļ§้āļāļŦāļĄāļēāļāļูāļāļัāļāļิāļāļāļ°āļ้āļāļāđāļ็āļāđāļāļĨāļĒāļāļāļāļ่āļēāļĒāļāļĢāļāļ้āļēāļĄāļัāļāļี
(āļāļ°āļāļิāļāļēāļĒāļĨāļ°āđāļีāļĒāļ āđāļāļŦัāļ§āļ้āļāļāļิāļāļēāļāļēāļĢāļัāļāļิāļ)
3. āļู้āđāļĨ่āļāļั้āļ 2 āļ่āļēāļĒ āļ้āļāļāļāļĒāļēāļĒāļēāļĄāđāļ้āļŦāļĄāļēāļāļāļāļāļāļāđāļāļ
āļĨ้āļāļĄāļื้āļāļี่āļ§่āļēāļāđāļŦ้āđāļ้āļĄāļēāļāļāļ§่āļēāļู่āļ่āļāļŠู้ āļัāļāļāļ°āđāļāļāļัāļāļŠิāļ
āđāļāļĒāļัāļāļ§่āļēāļ่āļēāļĒāđāļ āļĨ้āļāļĄāļื้āļāļี่āļ§่āļēāļāđāļ้āļĄāļēāļāļāļ§่āļē āļāļ°āđāļ็āļāļ่āļēāļĒāļāļāļ°
(āļāļ°āļāļิāļāļēāļĒāļāļēāļĢāļัāļāļāļ°āđāļāļāđāļāļĒāļĨāļ°āđāļีāļĒāļ )
3) āđāļ้āļĄāļ่āļ (KOMI) - āđāļāļĄิ
āļ่āļēāļĒāļāļģ āđāļ้āđāļิāļāļŦāļĄāļēāļāļ่āļāļ āļืāļāļ§่āļēāđāļ็āļāļ่āļēāļĒāđāļ้āđāļāļĢีāļĒāļ
āđāļāļĢāļēāļ°āļāļ°āļั้āļ āļึāļāļ้āļāļāļĄีāđāļ้āļĄāļ่āļ āđāļื่āļāļāļāđāļāļĒāļāļ§āļēāļĄāđāļŠีāļĒāđāļāļĢีāļĒāļāļāļāļāļ่āļēāļĒāļāļēāļ§āļี่āđāļŦ้āļāļģāđāļิāļāļ่āļāļ
āđāļāļĒāļ่āļēāļĒāļāļēāļ§āļāļ°āđāļ้āļāļ°āđāļāļāļāļĢี āđ āđāļāļāļģāļāļ§āļāļŦāļึ่āļ
āđāļĢāļēāđāļĢีāļĒāļāļāļ°āđāļāļāļāļģāļāļ§āļāļี้āļ§่āļē "āđāļ้āļĄāļ่āļ (Komi)"
āļึ่āļāļัāļāļุāļัāļāļāļģāļŦāļāļāļĄāļēāļāļĢāļāļēāļāļŠāļģāļŦāļĢัāļāļāļĢāļ°āļāļēāļ 19x19 āđāļ§้āļี่ 6.5 āļāļ°āđāļāļ
āđāļ้āļĄāļ่āļāļี้āļāļ°āļāļģāđāļāļāļ§āļāđāļŦ้āļัāļāļāļ°āđāļāļāļŠุāļāļิāļāļāļāļ่āļēāļĒāļāļēāļ§āđāļĄื่āļāļāļāđāļāļĄ
(āđāļื่āļāļ้āļāļāļัāļāļāļēāļĢāđāļŠāļĄāļ)
4) āļŦāļĄāļēāļāļ่āļ Handicaps
āđāļื่āļāđāļŦ้āđāļิāļāļāļēāļĢāđāļ่āļēāđāļีāļĒāļĄāļัāļāļāļāļāļู้āđāļĨ่āļāļี่āļĄีāļีāļĄืāļāļ่āļēāļāļัāļ
āļāļēāļāļāļ°āđāļĨ่āļāđāļื่āļāļŠāļāļāļāļāļŦัāļāđāļĨ่āļ āļŦāļĢืāļāđāļĄ่āļ็āļ§ัāļāļĢāļ°āļัāļāļีāļĄืāļ-āļัāļĻāļāļāļิāļāļēāļĢāđāļĨ่āļāļŦāļĄāļēāļāļĨ้āļāļĄ
āļāļāļāļāļēāļāļี้āđāļāļĄāļŠ์āļŦāļĄāļēāļāļ่āļāļāļ°āļูāļāļāļģāļĄāļēāđāļ้āđāļื่āļāđāļŦ้āļĄีāļĢāļ°āļัāļāļāļēāļĢāđāļĨ่āļāļี่āđāļāļĨ้āđāļีāļĒāļāļัāļ
āđāļื่āļāđāļิ่āļĄāļāļ§āļēāļĄāļŠāļุāļāļŠāļāļēāļāđāļāļāļēāļĢāđāļĨ่āļāļ้āļ§āļĒ
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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.
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.
- The Board and Stones
- Play
- Compensation (komi)
- Handicaps
- Capture
- Repeated Board Position (Ko)
- Passing
- Illegal Moves
- Ending the game
- Disputes
- The Last Move
- Counting
Main article : About the game
credit : John Baker The Way to Go
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.
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
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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 e...
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