RobertJasiek wrote:Bantari, professional players are praised for their attention to detail. You seem to criticise me for my attention to detail (when speaking of me causing problems by being more rigid than most others (most amateur players?)), why? Because I dare to do what professional players are praised for?
Robert, this statement is typical for your handling of the discussion's flow.
It seems to me to be a desperate attempt to bring the discussion back into "your world".
As far as I can see, Bantari has not picked "detail" out as a central theme of his postings. I doubt that he even used this word. In the contrary, Bantari has written that your methodical approach (wherein "detail" is one of the leading factors) is OK for him -- but only with a view severly limited to "your world".
The professionals' attention to detail is nothing that happens inside "your world". Therefore, it is not comparable at all to what you might understand by "your attention to detail". And -- most important -- "rigidity" has nothing to do with "detail", as you claimed above.
It is your inability to accept another point of view than yours from "inside-your-world" that Bantari misses. And Bantari is not alone with his assessment.
In principle, Bantari has written several texts in "prose" in conformity to what I had written before in a more "mathematical" style. None of both display formats really had any effect on you.
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Let me try to give you an example from another "world", the three amateurs' research on Igo Hatsuyoron 120.
Our insights into the problem have grown over time. The same is true for the variations' tree, which has become very large, and very deep. Our books draft has grown from (approximately) 100 pages to 700 pages now.
From time to time it happens that we realize a "mistake" in our sequences, mostly on accident, not on purpose, in one of the several sub-sub-variations. These "mistakes" are not "really disturbing" in the sense that they would put our solution to the problem in question, but incorrectnesses in the correct order of moves "only".
This means that a distinct move should have been played at another moment, to give (with a now "correct" sequence) the same result as we got before (with our previous, now known "incorrect", sequence).
The "researcher" in me tries to avoid the (in priciple now necessary) re-structuring of the book, with changing (let's say) 65 pages with 200 diagrams. Especially, when the "researcher" currently has a high working load to manage. Instead, a comment is inserted that makes the incorrect order of moves evident, asks for kind understanding that the editing has not been done, and points to the now correct sequence, which is hidden is sub-sub-variation XYZ.
As far as the core information is concerned, the presentation is still "correct". From the standpoint of the "researcher" everything is fine again.
However, the "editor" in me knows that this kind of presentation does not fit the expectations of the "usual" reader. The "usual" reader expects the "correct" sequence to be in the main line, with all alternate moves, mistakes, etc. explained in sub-(sub-)variations.
Approximately one time a year, the "editor" wins the "fight" with the "researcher" (a good moment to battle is when the "researcher" has just finished a larger task), and then several weeks will be filled with re-structuring work, which -- in principle -- does not add anything to the contents of the book.
It is this change of standpoint that Bantari and others think that you are unable to do.
Instead, you behave as the "researcher" in the above example, "proving" until the very end that everything was OK. The reader simply missed some comments on pages A, B, C, and D.