Do you know how to determine the size of a man's genitals? By the way he takes defeat (Note: never pay attention to another man's genitals unless he fucked your girlfriend) It doesn't matter that you have the most cunning submissions in the whole wide world and you

CLASSICAL SEQUENCES - JOSEKI The art of form is reflected in the theory of joseki, or the theory of “equal result”. In Chinese game theory Japanese word joseki is replaced by another term - dinshi, which means "to determine the form." Usually joseki

Probably many people have thought about how to make a goban at home with minimal costs effort, money, and time. There are actually a lot of options; an improvised goban can be made from anything, for example, from a piece of old linoleum, plywood, cardboard. But,
Such gobans do not look very aesthetically pleasing, in addition, they are short-lived. Despite the fact that I am the proud owner of a board purchased back in Soviet times, which, by the way, has been perfectly preserved, I am haunted by the obsession of making a goban myself. Unfortunately, I don’t know when I will have enough time to implement this idea, but I have already decided on the goban manufacturing technology for myself and bring it to your attention.

So, let's start by making a list. necessary tools and materials. I advise you to prepare everything in advance so that you don’t have to run around the apartment looking for the most basic tools and come up with new uses for household items.

Materials and tools required for work:

1. MDF fiberboard.

Dry-process fiberboards: MDF (medium density fiberboard) is a material with a uniform internal structure that allows milling without chipping, hairiness, opening internal pores and grinding with sufficient surface quality of the product. MDF boards are widely used for the manufacture of furniture parts, especially furniture relief facades.

2. Clear varnish good quality. You should not skimp on varnish; it is better to buy a small jar of expensive varnish containing polyurethane.
3. Foam brushes or a small foam roller.
4. Fine “zero” sandpaper.
5. Sharp construction knife.
6. Long metal ruler. A second T-shaped ruler will also help a lot.
7. Pencil, eraser.
8. High-quality permanent black marker with a pen thickness of 0.5mm.
9. Hair dryer.

Work execution project (WPP)

1. Cut a board of the required size from our MDF board. I recommend cutting it out circular saw- then the cuts will be even and smooth. If you plan to cut with a jigsaw, then I must disappoint you - no matter how hard you try, the edges of the board will be uneven. Some craftsmen advise temporarily attaching a guide block to stop the jigsaw, but this option is not suitable for us for two reasons: firstly, we do not want to spoil the board by fastening the block (there will be traces from the screws), and secondly, even if we secure the block - The cut area will still turn out to be uneven, since the stroke of the jigsaw is several millimeters, and on a thin board such an error will be obvious.

2. The cut blank for our goban must be thoroughly sanded. For sanding we use the finest sandpaper “zero”. To avoid removing fibers too much in places where you press with your fingers, secure the sandpaper on a small, even block or on a special sanding block. I like it when the edges of the board are sharp, so we will not process them with a file; for the same reason, we sand the end sides of the workpiece only with a block!

3. Prime the workpiece with the first layer of varnish. I repeat, we don’t skimp on varnish; we make sure that the varnish is polyurethane. For the primer layer, it is advisable to add a little white spirit to the varnish - this will make the varnish more liquid and it will better saturate the board. The varnish should be applied with a foam brush or roller. If you use a regular brush, hairs will inevitably get on the surface of the board. If, when applying varnish, small bubbles form on the surface of the board, this should not scare you; the bubbles, theoretically, should disappear on their own, but I recommend that you dry the board a little after painting with a regular hairdryer.

4. Apply the mesh to the goban blank. To do this, use a sharpened pencil to draw the first line along the entire perimeter of the board (we get a square). Be sure to check the angles - they must be strictly 90 degrees! The formulas proposed by Filin on the forum will help us correctly determine the size of the sides of a square Kido:

Horizontal size: 18 cells wide (d+1mm), plus (0.7d) on each side

Final formula:
L horizontal=18(d+1)+0.7(d+1)+0.7(d+1)=19.4(d+1)

Vertical size: the same as horizontal, but add 3 mm (the goban should be slightly elongated to create the visual effect of an even square)

Final formula:
Lvert.=18(d+3)+0.7(d+3)+0.7(d+3)=19.4(d+3)

d - diameter of the stone (measure with a caliper)

After applying the first line, apply all the rest, carefully monitoring the dimensions. When all the lines are drawn in pencil, we need to outline them with a black marker (pen thickness 0.5mm). We wipe away inaccuracies and errors in the lines drawn with a marker with a sharp construction knife. After drawing the lines, do not forget to mark the star points; for this it is best to use a stencil ruler. The diameter of the point should be within 2-3 mm, otherwise it will look too large.

5. After applying the grid and star points with a marker, you must repeat the procedure
apply varnish another 2-3 times, each layer of varnish must be thoroughly dried. Dry the workpiece in a dry, dust-free place.

6. These are approximately the gobans you get if you follow the above instructions:

Stone crafts can be made from a variety of stones: construction stones, ordinary street stones, and sea stones.

They go well with shells, pasta and other materials, but even in pure stone the craft will look original and interesting. And you can take stones to create it different sizes and shapes, and most importantly, colors.

By the way, if you have multi-colored stones, you can combine them so that you don’t even have to paint the craft.

Bottle made of stones

An ordinary wine bottle can be turned into an original decorative item if you decorate it with thin stones.

However, if you have certain skills and sharp tools, existing stones can be cut into thin plates, and even give them shape.

In addition, multi-colored natural material you don’t even need to paint, but even if you need colors that don’t exist, you can apply paint to the stones and it will turn out beautiful

For example, gouache...

It will not be waterproof, but if the craft will decorate the interior, you can opt for it.

What you will need:

• wine bottle;
• plasticine gray;
• thin plates of stones or voluminous stones;
• beads;
• rhinestones.

So, first we take the bottle and clean it well of dirt and dust. Of course, we remove the label and any layer of glue that might remain on the surface in advance.

You can use crafts made from stones both in the interior and in landscape design. After all, such beauty does not require much effort or spending money!

Go is played by two people (there is a variant for four players - rengo, where allies play with one color, a pair against a pair, as well as one-color or “white” Go, where both opponents play only with white stones, relying entirely on their own memory). The game is played on a one-color board, lined with vertical and horizontal lines. The game set also includes stone chips (180 white and 181 black) and bowls for storing them. In addition to the large tournament board 19x19, the standards are the “old” board 17x17, “study” 13x13 and student 9x9. In an informal setting, players can take a board of any size - 5x5, 7x7, 11x11, etc. up to 37x37 - neither the rules nor the tactics will need to be changed, although the strategy may change radically.

Chips in Go are traditionally called “stones” (Japanese: “ishi”). IN ancient China they were indeed carved from precious and semi-precious stones, bones, horns, and also made from glass and ceramics. Ancient stones found in burials are almost always green and red or brown, rather than white and black, and their shape is cone-shaped. Bowls for stones were made from ceramics, porcelain, stone, bamboo and expensive wood. Fields were often made of fabric or leather, although wooden and stone boards were also in use everywhere.

Japan is poor in mineral resources, and local craftsmen have found substitutes for ornamental stones in the form of black basalt slate from Wakayama Prefecture and hamaguri bivalve shells (Meretrix lusoria) from the Hyuga Bank (although in the photo above, it seems to me, a tridacna - D.S.).

A massive, very thick board-table, usually made of kaya wood (Torreia nutracena), is also becoming standard. It is in Japan that the game acquires its characteristic, recognizable golden-black-white asceticism.

New materials entailed a change in the shape of the chips, and then the entire game set. Stones that were traditionally made with a flat base in China became biconvex, lenticular in shape in Japan.



Playing with such convex stones is a special skill that also serves as an indicator of skill. There is a correct set of movements, including taking a stone from a bowl and specially intercepting it with the index (bottom) and middle finger (above), allowing you to place the stone at any point on the board with one blow without scattering others - such a grip and movement, as the Japanese believe, resembles sword blow.


When done correctly, all this looks like one movement (Japanese tradition generally pays a lot of attention to correct sequence actions, be it a tea ceremony, martial arts or Go). A confident, practiced blow with a stone forms a small hole on the goban, in which it remains standing (the trick is that kaya wood is elastic, and over time the hole straightens itself).

The main cost of an elite Go set is white stones, bowls and goban (basalt costs practically nothing, except for the work of a stone cutter).
Stones are classified according to thickness into 7 types - the thicker, the more expensive. The diameter of black stones is half a millimeter larger than white ones, since the black color visually reduces the size of the object, and white stones, with equal sizes, look a little larger. In addition, white stones are sorted according to the pattern of mother-of-pearl layers: straight “yuki” are most valued, followed by evenly curved “tsuki”, and finally, asymmetrical “jitsuyo”. On one side of the shell stone the pattern is usually denser, on the other it is sparse. Interestingly, this Japanese tradition, in turn, influenced China - among the stones there, opal ones, whose striped structure resembles a shell, are especially valued. High-end Chinese sets can be extremely beautiful, although these slippery stones can be difficult to play with.



However, in China they still make stones with one side convex and the other flat. Classic material for black stones it is viscous glass like smalt, and for white stones it is translucent artificial marble yunzi; Such stones are greenish-black and milky-white when exposed to light.The material for this composite is mined in Yunnan province, and the recipe is kept secret. The process of making stones, which locals called "fused dry stone", dates back to the Tang Dynasty in the 1920scentury was lost and rediscovered only in the 60s.

You have to play with them more carefully - when strong impact stress on flat base is distributed unevenly (the finger presses on the center, and the blow falls on the edge), and the stone may split. The stones are coated with a special mineral oil, which gives the matte surface shine and depth (our people recommend TNK or Johnson’s Baby). The stones in the sets may vary slightly in size, which, however, also gives them a certain charm: the aesthetics of Go implies a harmonious balance between the complete similarity of the stones in the set andsubtle differences between each of them individually.
Since the forties of the 20th century, Korea has invaded the Japanese market with stones made of earthenware and viscous glass, so successful that Japan has completely curtailed its own production of cheap stones, preferring to purchase Korean ones for club needs.

Finally, at the beginning of the 21st century, the Taiwanese standard - the so-called. “Inga stones” are made of hard rubber - supervulcanized rubber with a metal weighting core, slightly flattened at the “poles” for better stability, and although their appearance is not so chic, convenience, strength and low price more than compensate for the shortcomings. Chinese stones are slightly larger in diameter than Japanese and Korean ones, and they, in turn, are larger than Ing stones.
Bowls are traditionally made from rare woods. Antique Chinese bowls are cylindrical in shape, with flat lids.

In a later tradition, the bowls become barrel-shaped, in the form of a flattened ball. It is customary to place cut stones in a convex, inverted lid.


Japanese bowls are not as steep-sided and slightly conical: their base is slightly wider than the top.Along with classic wooden and souvenir stone and lacquer bowls, there are wicker ones - made of straw or bamboo, and in Lately and plastic.

When playing according to Ing's rules, where the total number of stones is important, special bowls are used with a movable measuring mechanism in the lid, which allows you to instantly determine whether all the stones are in place or a few are missing: they are easily distinguished by their characteristic hexagonal shape.

The traditional Japanese goban is still lined using a samurai katana - the master makes a series of parallel cuts into which very thick paint is rubbed, after which the surface is polished, so the markings of Japanese gobans are always embossed, “mortise” (photo on the left), and Korean and Chinese - flat, smooth (right).

Stones and gobans of ancient work are very much valued, since recently kaya and hamaguri have become endangered species, and gobans are increasingly made from wood of other species (spruce, beech, maple), which in Japan are called by the collective name “shin kaya” - “new kaya” " However, any goban still remains a piece of goods that not everyone can afford, so most players are content with thin boards or bamboo consumer goods.


Stones today are made from the shells of the same mollusk, only from the coast of Mexico (and even here craftsmen complain that the quality of Mexican shells is much lower than Japanese ones).


In all three countries, they produce portable Go kits made of plastic with built-in magnets and a field made of sheet rubber of any size and price category - from pocket-sized to large wall-mounted demonstration ones.
Recently, special relief boards have also been produced on which blind players and people with low vision can play. The black stones are smooth, while the white ones have raised marks.


To control time in Go, regular chess clocks were previously used. The player is given a certain period of time to play the game, after which the so-called"bayomi": for each next move you have 30 seconds . The player has 5 such intervals, so he can let the flag fall 4 times (that is, run out of time), on the fifth time the time runs out and the game is considered lost. As long as the player spends less than 30 seconds on each move and presses the button at the right time, he can play virtually endlessly. It is customary to press the button with the same hand with which the player places the stone (the clock stands on one side of the board, and one player will have a time advantage if he gets into the habit of placing stones with one hand and hitting the clock with the other).
Today in tournaments they usually use"speakers" electronic clock of the Inga system (in the picture, this one, similar to a little car), with a voice warning function: when the player has the last 10 seconds left, a voice countdown begins: this tradition comes from the control generally accepted in professional Go, when the player records the moves and his assistant switches the clock (he also warns with his voice that time is running out).

Rules of the game

If the game is not a handicap, black makes the first move in Go. This is a long-standing Eastern tradition, according to which the black color of the attackers symbolizes aggressive, bad intentions. The traditional color drawing is called “nigiri” (from the Japanese “bun”, “lump”) and is based on the game of odd-even.

The player who got the bowl with white takes a handful of stones at random and places them on the board at once, at the same time the player with black places one or two stones nearby. If black guesses the parity of the stones laid out by the opponent, he is given the right to choose a color; if not, this right goes to his partner.

The first move is usually made to the upper right corner of the board (the opponent's left corner) - this “move to the heart” symbolizes the good intentions of the beginner. This is a completely optional old rule, but most players traditionally adhere to it. Next, players take turns placing a stone on any crosshair of the board, trying to build “walls” and fence off as many empty crossroads on the board as possible. You cannot place two stones in one move, but a player can pass at any time - such a pass is also considered a move. A stone placed on the board no longer moves and can only be cut down and removed from the board if the enemy surrounds it on all four sides with his stones or presses him against the wall.

At the core gameplay Go is based on three simple principles:

Since stones in Go are placed not in cells, but on the crossroads of lines, each stone, when placed, borders on a maximum of four free neighboring intersections (on the edge of the board - three, in the corner - two). There are no diagonal connections in Go. As long as a stone or group of stones has contact with at least one free intersection, the stone or group “live”; as soon as all contacts are blocked by enemy stones or the edge of the board, they “die” and are immediately removed from the board. In Japanese, each such free crosshair next to a stone is called “dame” (“breath”). Placing a stone at a point that does not have “breaths” is prohibited. Encirclement is the basis of Go, but in reality it is a tactical technique, a threat, a pressure mechanism, and not at all the goal of the game, although it happens that a large group dies surrounded by an enemy (as a rule, when playing with equal players, this promises a loss).

2) Construction of the Fortress.

A stone placed on the board no longer moves (it can only be cut down and removed) and can escape encirclement in the only way - to develop into a large unkillable group. United stones can only be destroyed by surrounding them all at once. Each added allied stone increases such a group, it grows, grows loops, tentacles, takes up defense, counterattacks and, when the opportunity arises, forms closed voids inside itself (the so-called “eyes”), consisting of unoccupied points. An "eye" can have many empty intersections, but if there are no solid walls dividing it inside, it is still considered one "eye". A group that has two or more “eyes” cannot die: if the enemy tries to take one, such a group will have a second one, and since “suicide” moves are prohibited, the enemy ultimately cannot attack it at all, even if he surrounds it from everyone sides and pressed against the wall. Such an “immortal” group of stones is called a Fortress. The picture shows typical formations in the corners of the board: two two-eyed Fortresses of black (left) and one of white (right).

3) Division of territory.

When so many Fortresses are formed on the board that their walls are touching, and there is no place to build new ones, the opponents actually share the remaining empty space. This space can be small “eyes” at 2-3 intersections inside the fortresses, winding “corridors” and large “bags” at different ends of the board, as well as huge possessions (Japanese “moyo”) with guard stones strategically placed inside, ready to strangle any invasion (the point is that it is not enough to fence off the territory, you need to protect it, otherwise the enemy will land troops, build a fortress inside, and the points will go to him).
At the end, the game breaks down into areas that no longer affect each other. There are no large weak groups that are in danger. This is followed by filling out neutral points, exchanging captured stones and counting points to determine the winner. Each unoccupied point surrounded by a player brings him 1 point, each captured and killed enemy stone also gives 1 point.
There are situations when two or more groups of stones remain “live” in a state where none of the opponents can make a move on this “section of the front” without fear of being destroyed. This situation in Japanese is called “seki” (“obstacle”, in the picture on the left), when counting, all stones in this part of the board are considered live, and the points are considered to be drawn.

An interesting controversial moment may arise in the game in the form of mutual capture of a stone or group of stones (in Japanese “ko” - “eternity”; in the picture below). The rules prohibit such retakes, otherwise they will continue until the stones run out. A player in such a situation can cut down the enemy’s stone only after one move, which he must make to any other point on the board, or pass. The enemy is obliged to do the same. Co-fighting is a complex tactical technique when both players choose, for “distracting” moves, poses that are dangerous for the enemy (co-threats), to which the latter, willy-nilly, is obliged to respond. In some cases, life depends on the outcome of a co-fight large groups, but more often this happens at the end of the game, when there is no big advantage and there is a fight for every point.

Japanese and Chinese Go rules are slightly different from each other, but the differences relate mainly to scoring and some controversial issues. After 1960, several new sets of rules appeared: AGA (American Go Association) rules, Ing rules and simplified Ing rules, New Zealand rules, as well as Tromp-Taylor rules. All of them are based on the Chinese scoring system and are characterized by some gaming subtleties (for example, the Ing rules allow “suicide” moves, which can change the situation when playing some groups).

To indicate moves, previously only numerical notation was used (13-8, 2-6, etc.), today “chess”, alphanumeric notation is more often used: numbers from 1 to 19 - along the vertical board and letters of the Latin alphabet from “a " to "t" horizontally (however, there is no "i" in this row to avoid confusion due to its similarity to "j"). The graphic record of the game (Japanese “kifu”) looks like a lined diagram of the board, on which moves are depicted in black and white circles, indicating the number of each.

You don’t have to draw circles; in this case, players simply write down their moves and their opponent’s moves in different colored ink. In both Renju and Go, continuous numbering of moves is adopted, that is, the first move (black) is marked as No. 1, the second move (white) - No. 2, etc. No erasures are allowed; if the stone is placed in the place of the cut one, a mark is made at the bottom of the sheet, say: “123 = 30” (i.e. move No. 123 is made where stone No. 30 appears on the diagram). Masters and experts read kifa very quickly, but for a novice player this is a very difficult task, and it is not difficult to understand the order of moves itself - the system is intuitively simple, it is more difficult to imagine the emptiness in place of the stones placed later.

Since black goes first, he is considered to have an initial advantage of several points. This problem became especially acute at the end of the 20th century with the development of Go theory and the emergence of new openings. It got to the point that only black players began to win at tournaments of strong masters. To even out the balance, the “komidashi rule” (colloquially “komi”) was introduced in the 19th century, according to which whites receive compensation of 2.5 points before the start of the game. Due to the fragmentation of Komi, there are no draws in Go: in any case, one player will have an extra half point; A draw is possible either in a student game, or by mutual agreement of the players. Over time, the rules have been revised several times, and today the size of the komi is 5.5 points in Japan, Korea and China, 6.5 in Korea (more recently), 7 in New Zealand and 7.5 in Taiwan, where they play according to Inga's rules. “Free Komi” is also practiced, when players arrange a kind of “trade” before the game, taking turns increasing the size of the Komi until the opponent agrees. The catch is that the player who offered the highest accepted compensation then plays black.

A master and a novice player can easily compete at the Go board. The handicap that a strong player gives to a weak one is intended to equalize their chances and make the game harmonious. The simplest is the refusal of a handicap, when a strong player plays white with a Komi of half a point or even with the opposite, minus Komi. Increasing the handicap comes down to placing handicap stones (two or more). There is a classic handicap, when stones are placed at strictly defined “star” points, and a free one (in common parlance, “Chinese”), when a strong player gives a weak player several moves forward, and he himself passes each time. An experienced player usually knows his strength and can calculate how many handicap stones to ask from a strong one or give to a weak one in order to play on equal terms.
With rules like these, it's hard to believe that Go is considered the most difficult game in the world. The general principles and tactics of Go are simple and straightforward, but they require constant rethinking during the game. There are no figures in Go, one stone is no different from another, the only thing that matters is the place it occupies and the shape that the stones form. However, in their collision and interaction, a complex architecture is revealed. Assessing the individual and cumulative potential of one’s own and other people’s formations, revealing and realizing it and preventing the enemy from doing so, setting priorities when attacking, defending and seizing new territories are the most difficult tasks in themselves, and, in addition, they also have to be solved simultaneously.

In such conditions, everyone chooses a strategy “according to growth”: beginners start chasing individual stones, more experienced players build outposts, make forays and start local battles, but real masters think in larger categories than a banal fight in the corner or capturing a single chip, and already at the initial stage they begin global strategic planning. In fact, Go is a kingdom-founding game where everyone builds castles, draws borders, and ends up taking as much “land” as they can hold.

Unlike chess or checkers, Go does not have established “winning scenarios” that allow you to play according to a pattern. The level of high creativity and tactical improvisation, which in chess is accessible only to real masters, is experienced by a Go player already at the stage of catching his very first pebble. Calculation, of course, is also important, but true understanding of Go lies on the border between conscious and subconscious perception. In the famous anime “Hikaru and Go” there is a scene when a boy is perplexed: “I won! How did I do this?..”

Even in ancient times, during the To Dynasty, a Chinese official of the highest rank, Osekinin, formulated the “Ten Commandments of Go,” which convey the essence of the teaching. These commandments have not lost their relevance to this day; they are:

1. “He who strives too much to win will not win.”

2. “If you invade the enemy’s sphere of influence, be more lenient.”

3. “Before you attack, look at yourself.”

5. “Give a little, take a lot.”

6. “If there is danger, don’t hesitate to give.”

7. “Refrain, don’t waste your time.”

8. “When the enemy attacks, be sure to respond.”

9. “If the enemy has strengthened, strengthen yourself.”

10. “If you are hopelessly isolated, choose the peaceful path.”

First, players divide the territory in the corners of the board, then on the sides, and only then in the center (no one divides the sky without first dividing the land). It is very important to recognize when one phase of the game replaces another, to catch the moment when the draft section is over and the groups have gained strength - such a player seizes the tempo (in Japanese terminology, “gets sente”) and with his first move into free territory sets up new possessions. It is incredibly important to understand to what extent you can yield to the onslaught of your opponent, and when it is necessary to resist: an abandoned, unfinished situation in the corner or on the side is fraught with the loss of a group or even a fortress, or even an entire possession.

I will describe a case from my practice. I taught a ten-year-old girl who could not grasp the principles of Go and, instead of redistributing spheres of influence, arranged endless tactical fights. Imagine, I told her, that there is a delicious cake from which they cut you a piece. You ate some and suddenly saw your rival reaching into your saucer with a spoon and stealing pieces. How to fix the situation? The first answer was, naturally, to defend your own piece, the second was to eat off your friend’s piece in revenge... But to cut yourself another one from the cake big piece it never occurred to her!
The analogy turned out to be successful. Indeed, sharing and not fighting is the principle of Go. Sooner or later, the player realizes that he is losing due to the desire to take away the apple core from his opponent. Mastery comes with a deep understanding of the general nature of harmonious structures, development skills, effort optimization, planning and arrangement, which ultimately extend to any life situation. And when the players begin to divide the “basket of apples”, and by the end of the game there are only “apples” on the board, not cores, and the difference is half a gram, this is Go. As a consequence, where chess ultimately produces a kshatriya, an uncompromising fighter and commander, Go produces a wise ruler and organizer.
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(c) Dmitry Skiryuk