How to tell if a play or position is sente

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Re: How to tell if a play or position is sente

Post by Bill Spight »

Shawn Ligocki wrote:
Bill Spight wrote:For the math minded. :)

Given this game, { a || b | c }, a > b > c, to find the temperature, t, solve a - t = max(b, (b+c)/2 + t).

The mean value of the game is max(b, (2a+b+c)/4).

The temperature of the game is min(a-b, (2a-b-c)/4).


I find follow, could you explain your notation?
What does { a || b | c } mean?


Sorry. It means from the original position, designated by ||, Black can move to a position worth a (for Black), and White can move to game {b | c}. In that game Black can move to a position worth b and White can move to a position worth c.

¿Es claro? :)

Edit:

For the position in the diagram a couple of notes back, the game looks like this:

{6 | 2 || -1}

The mean value is min(2, (6 + 2 - 2)/4) = min(2, 1.5) = 1.5. It is gote.

For the sente diagrammed in note #2, the game looks like this:

{9 || 8 | 0}

The mean value is max(8, (18 + 8 + 0)/4) = max(8, 6.5) = 8. It is sente.
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Re: How to tell if a play or position is sente

Post by drmwc »

On a side note, in one of the earlier diagrams the monkey jump is not as good as the one point jump. 4 is better than 3.

Click Here To Show Diagram Code
[go]$$B White has a fighting chance.
$$ ---------------------------------------
$$ | . . . . . . 3 . . . . . . . . . . . . |
$$ | . . . . . . . . . 1 . . . . . . . . . |
$$ | . . O . . . . . O . X . . . . . X . . |
$$ | . . . , . . . . O , X . . . . , . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | O O O O O O O O O , X X X X X X X X X |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . . . . . . O . X . . . . . . . . |
$$ | . . . , . . . . O , X . . . . , . . . |
$$ | . . O . . . . . O . X . . . . . X . . |
$$ | . . . . . . . . . 2 . 4 . . . . . . . |
$$ | . . . . . . . . . . . . . . . . . . . |
$$ ---------------------------------------[/go]
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Re: How to tell if a play or position is sente

Post by Bill Spight »

About criticizing Japanese texts, and Kano in particular.

I criticize the Japanese texts because that's what I read. I have only a few go books in English, not including The Endgame. One Japanese text that I do not criticize is O Meien's recent book. He does not talk about double sente because he does not need to. In the future I hope that he criticizes how other texts treat double sente as local.

Kano's Yose Dictionary is one of a set of books including, among others, the Fuseki Dictionary, the Ko Dictionary, and the Handicap Go Dictionary. I bought several of those books in the summer of 1975. To the best of my knowledge, Kano is the first writer to raise questions about local double sente. I speculate that he took the job of writing a comprehensive yose dictionary quite seriously, and that he wanted to explain why certain local positions, such as the three examples I have shown in recent threads, were double sente. He ran into problems, and, in the case of the 7 point sente, came up with the idea of necessity to explain why White was more likely to reply than Black. In the case of the "two point double sente" I suspect that his ghost writer came up with the example and Kano, who believed in local double sente like everybody else, checked the diagrams under the assumption that the double kosumi is double sente, and verified that the difference in results was two points, and then moved on.

I know from my own experience how easy it is, when you are trying to come up with an example to illustrate a point about go, not to stop and think about other aspects of the example, such as how you would actually play it. :) I do not for one second think that, had it come up in a real game, Kano would have answered the kosumi or considered it sente for either player.

In 1974 all the writers about yose believed in local double sente. Kano had the thoroughness to come up with some bad examples. He also recognized that there was a problem. Without Kano I am not sure that we would have had O Meien. :)
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Re: How to tell if a play or position is sente

Post by RobertJasiek »

Not every text treats local double sente with the implied pretence of it also being a global double sente. Besides, local double sente is an abstraction because it avoids consideration of a player having the turn. Instead, like in CGT diagrams, one can assume that EITHER player might have the turn.

What is the contents of Kano's yose and ko dictionaries?
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Re: How to tell if a play or position is sente

Post by Bill Spight »

RobertJasiek wrote:What is the contents of Kano's yose and ko dictionaries?


Sorry if I was unclear. The dictionaries had different authors. Murashima Yoshinori wrote the Ko Dictionary. All of the dictionaries were fairly encyclopedic. :)
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Re: How to tell if a play or position is sente

Post by mitsun »

Click Here To Show Diagram Code
[go]$$ Value = 6.5 or 8 ???
$$ -------------------
$$ . . O . . O X . . .
$$ . . O X X O X X . .
$$ . . O O X O O X . .
$$ . . . . X X X X . .
$$ . . . . . . . . . .
$$ . . . . . . . . . .[/go]


If the first W move is gote, and if we assign probability 1/2 to either player later getting the next play, then this position is worth 6.5 points for B and the first W move is worth 2.5 points. This calculation gives me some clue when to make the play in a real game.

If the first W move is sente, meaning we assign probability 1 to B getting the next play, then this position is worth 8 points for B, and the first W move is worth 0 points. This gives me no clue when to make the play in a real game. If I evaluate this instead as "W one point sente (or B one point reverse-sente)", then I have the information I need to guide my play.

The value of 0 for the sente move seems like a meaningless tautology. If the value of the initial position is calculated assuming the sente sequence with no branches, then the value of the end position is back-assigned to the starting position. So of course the move under consideration does not change the calculated value of the position.

It seems rather arbitrary to alter the probabilities of the branches of the decision tree this way. First assign probablilty 1/2 to each branch, then evaluate the value of each intermediate position, then evaluate the value of each intermediate move, then reset the probabilities of some branches to 1, then reevaluate the values of the intermediate positions, then reevaluate the values of the intermediate moves. It seems like the rule is to reset the branch probability if the branch creates a move worth more than the previous move? That might be a reasonable guideline, but nothing more. Why not for example assign probability 3/4 to some branch, if I feel that the followup is moderately large?
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Re: How to tell if a play or position is sente

Post by mitsun »

lightvector wrote: Or else both sides threaten about the same amount, such as when the position is nearly symmetric. In this case, it's large but locally gote for both sides.
Here "locally gote" is a mathematical definition, related to your counting method, not necessarily a guide to proper play. In a real game, I would contend that such positions are quite often truly double sente (given the global board position), and players try hard to get the first play. If I think to myself "this move creates a large followup, probably larger than anything else likely to be on the board, so I will consider it sente", then I am injecting some global board evaluation into the equation, and it seems like I could improve the evaluation and my play.

lightvector wrote: Even if it is responded to, that's no different than if there were two separate large gotes on the board, one of them a few points less than the other, but both larger than other moves. One player gets the larger one, then the other player gets the smaller one.
Surely there can be great practical real game value in making the move that sets up this situation. But in your counting method, the more followup value created by the first move, the less value you assign to it, with the extreme limit being an absolute sente move valued at zero.
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Re: How to tell if a play or position is sente

Post by John Fairbairn »

I remain unconvinced by Bill on Kano. For the avoidance of doubt, I am not saying Bill's way of counting boundary plays is in any way flawed (nor am I able to say whether it useful or correct).

But my feeling is that Kano is being criticised for something he never said or intended. I have to stress it's a feeling, as I'm not qualified to dilate on the mathematics, but it's a strong feeling, and it's based on the following observations.

First and foremost the idea of double sente has been around since at least Shi Dingan referred to it in the Qing dynasty, and it is alive and kicking today in each of the oriental go-playing countries. Kano sticks to his guns in the 1985 edition of his book, and although it's a different example he still uses a large-scale one where the value of the respective sente moves is very different.

The huge Chinese "Practical Comprehensive Manual of Go" of 1997 gives an example with a totally different position but likewise a huge discrepancy in the value of the two sentes. One allows killing of a group if unanswered, the other just allows a non-fatal incursion, i.e. the same idea as in Kano's big 1974 example. Yang Jinhua and Wang Qun also give examples in Chinese, large and small scale, in all cases with different values for each side's plays.

The Taiwanese author Li Song gives examples, too, and also has a good introduction on the history of boundary plays going back to Guo Bailing, i.e. early 17th century.

I'll skip Korean examples, as I think the picture is clear enough: we have had in place a method of talking about boundary plays for centuries. It beggars belief that if this was flawed, someone - even if he had to be a genius like Go Seigen - would not have mentioned it. It's true we had quirks like people not noticing a Shusaku game had been miscounted until an amateur queried, or weird positions that previous rules couldn't cope with. We've even had Kano himself, as I recall the story, exposed by Matthew Macfadyen for a mistake in an endgame problem, much to Kano's embarrassment. But these are quirks and one-offs - double sente plays occur in every game, multiple times.

So has Bill defied the odds? Maybe, and the novelty of CGT gives some grounds for believing in a platform for new insights. But as with conspiracy theories, I always think Occam's Razor is a better tool.

I believe the Oriental usage of double sente is nothing more than a description, that works in the same rough-and ready way that I say my wife's dress is red but accept she may call it burgundy, cherry, salmon, fuchsia, etc. (and in the way of the world I have accept I'm wrong while knowing I'm right enough). In contrast, while Bill will have to speak for himself as to exactly what he means by double sente, what comes over to me is that he sees it as a cog in a mechanism, and if that cog isn't exactly machined the whole mechanism will grind to a halt. Great if he can do it, but it's hardly fair to Kano and the others to blame them for non-working cogs.

That reminds me of one of my favourite stories. A Japanese interpreter was working with a group of American senators in Japan. The Japanese side referred to something as the honmono, the genuine article. Keen to show his prowess, the interpreter decided to translate this as "the real McCoy". Whereupon a senator excitedly interjected, "Say, you know Scotland too? My family comes from there!" Faced with expectant Japanese faces the interpreter felt obliged to render this straight into Japanese. Result, baffled faces and muttering of "How the hell did Scotland come into this?"

My view is that, presented with the alleged mistake, Kano's reaction would be "How the hell did cogs come into this?"

If I'm right and the Oriental view of the term is purely descriptive, we still have to assume the description is made for a purpose. The main answer to that seems to be differentiate double sente from one-sided sente and double gote, the categories universal in the Oriental texts (some add reverse sente, others treat it as a sub-category), and to point out that, no other things being problematical, double sentes are played first. Implicit in that, of course, is an addition to the description of who has sente. Imagine the situation in the aforementioned 20-point + 7-point double sente at which Bill took umbrage where one side has an area large enough not to have its life affected, but where that position arises only because that side has just made a move to create that area. Obviously he has gote. Just as obviously the other side will grab the sente. As he plays it he will perhaps think of it only as sente play, but if he was given that position cold and told he had sente, and he wants to know where to play, it is useful to be able, descriptively, to give general advice along the lines of "give priority to double sentes".

That's a trite example, no doubt, although I think it is always implied in the Japanese that it will be known in each case which side it is to play, and RJ seems to be saying that this is not necessarily assumed in western methodology.

In practice, pros seem to operate more on the crude but practical lines sketched out by Uberdude, much as we can see in Genan's Igo Shukairoku. Moves are mostly categorised as X points gote and X points sente, while double sentes are taken for granted and reverse sentes require a slurp of tea or a cup of coffee. But pros differ from amateurs in two main ways. One is that they have memorised counts for large numbers of standard boundary positions, and the other is that they stress restraint in the timing of boundary plays, to ensure that full account is taken of all aji (either to use it or eliminate it), so that many sente plays we amateurs make are far too early for a pro's taste - pun intended :) That seems to be the only way pros incorporate the concepts of local and global, and as far as I can recall, they have never used these specific terms.

I am very unsure about this, but I think it might be correct to say that pros have a bipartite approach. They make an overall count of territory and prospective territory and then decide on a strategy. Quite separately, they calculate the values of boundary plays as X-points sente or gote and thus decide on a move. In contrast, western researchers appear to me to be looking for a method that can integrate these two parts.
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Re: How to tell if a play or position is sente

Post by Bill Spight »

mitsun wrote:
Click Here To Show Diagram Code
[go]$$ Value = 6.5 or 8 ???
$$ -------------------
$$ . . O . . O X . . .
$$ . . O X X O X X . .
$$ . . O O X O O X . .
$$ . . . . X X X X . .
$$ . . . . . . . . . .
$$ . . . . . . . . . .[/go]


If the first W move is gote, and if we assign probability 1/2 to either player later getting the next play, then this position is worth 6.5 points for B and the first W move is worth 2.5 points. This calculation gives me some clue when to make the play in a real game.


Yup. It tells you that the time for either Black or White to make a play here is when other plays on the board gain around 2.5 points. Do you believe that? ;)

If the first W move is sente, meaning we assign probability 1 to B getting the next play, then this position is worth 8 points for B, and the first W move is worth 0 points.


Err, no. The sente exchange, :w1: - :b2: (not shown), gains zero points. But that just means that each move in the exchange gains the same number of points.

This gives me no clue when to make the play in a real game.


But if you ask yourself how much the Black response in the sente exchange gains, you find out that it gains 4 points. This tells you that when other plays on the board gain less than 4 points, White is likely to be able to make the play with sente. :)

If I evaluate this instead as "W one point sente (or B one point reverse-sente)", then I have the information I need to guide my play.


What do you mean, instead?

It seems rather arbitrary to alter the probabilities of the branches of the decision tree this way. First assign probablilty 1/2 to each branch, then evaluate the value of each intermediate position, then evaluate the value of each intermediate move, then reset the probabilities of some branches to 1, then reevaluate the values of the intermediate positions, then reevaluate the values of the intermediate moves. It seems like the rule is to reset the branch probability if the branch creates a move worth more than the previous move? That might be a reasonable guideline, but nothing more. Why not for example assign probability 3/4 to some branch, if I feel that the followup is moderately large?


The argument given here is not a proof. For proof, try the method of multiples. Set up a number of copies of this position and play them out, both with Black playing first and with White playing first. You will see that the average result converges to 8 points for Black. :)
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Re: How to tell if a play or position is sente

Post by mitsun »

Bill Spight wrote:
mitsun wrote:If the first W move is sente, meaning we assign probability 1 to B getting the next play, then this position is worth 8 points for B, and the first W move is worth 0 points.

Err, no. The sente exchange, :w1: - :b2: (not shown), gains zero points. But that just means that each move in the exchange gains the same number of points.

Ah, I get it now. The first move in the sente sequence converts an 8-point position into a 4-point position, then the forced response converts it back into an 8-point position. The 8-point initial value depends on evaluating the overall sequence as sente, but the 4-point intermediate value assumes double gote at that point. Despite all this, I have the feeling you are not comfortable saying that the first move is sente and has a value of 4 points?

It seems like I still need to recall the "sente" qualifier to know that I should play this fairly urgently as W, and I need to recall that the response is worth 4 points in order to know more precisely when to play it. Without your counting method, I would consider this as one point sente for W, to remind me that taking this point is pretty much my privilege, and I would need to recall that the threatened followup is worth 8 points, in order to know more precisely when to play it. Maybe not so much difference after all.
Last edited by mitsun on Mon Dec 08, 2014 3:11 pm, edited 1 time in total.
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Re: How to tell if a play or position is sente

Post by RobertJasiek »

Bill Spight wrote:All of the dictionaries were fairly encyclopedic.


We guess, but are they just shape dictionaries (possibly with values per shape) or do they also contain lots of go theory beyond our Western knowledge?

that just means that each move in the exchange gains the same number of points.


For greater clarity: "once +V for the player and once -V for the opponent calculated from the player's perspective". I.e., this amounts to V - V = 0.
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Re: How to tell if a play or position is sente

Post by Bill Spight »

mitsun wrote:Why not for example assign probability 3/4 to some branch, if I feel that the followup is moderately large?


Using a probability semantics, the probability of a gote is set to 0.5, and the probability of a sente is set to 1 - epsilon. There is certainly room for fuzziness, but it has not been developed, AFAIK. I have seen positions where whether the play is sente or gote is a close question. E. g., if a play is sente the reverse sente gains 1.75 points, but if it is a gote a play gains 1.78 points. In that case the probability of playing the sente does not seem like 1 - epsilon. ;)
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Re: How to tell if a play or position is sente

Post by Bill Spight »

mitsun wrote:The 8-point initial value depends on evaluating the overall sequence as sente, but the 4-point intermediate value assumes double gote at that point. Despite all this, I have the feeling you are not comfortable saying that the first move is sente and has a value of 4 points?


My own preference would be to say that the sente gains 4 points and the reverse sente gains 1 point. However, there are good reasons to favor the 1 point value and just say that it is a 1 point sente. As a rule, the play is only urgent as the value of other plays approaches 1 point. The 4 point value does not mean very much. :)
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Re: How to tell if a play or position is sente

Post by Bill Spight »

John Fairbairn wrote:I remain unconvinced by Bill on Kano. For the avoidance of doubt, I am not saying Bill's way of counting boundary plays is in any way flawed (nor am I able to say whether it useful or correct).


Except perhaps with some ko positions, my evaluations of local positions and plays will give the same results as O Meien's, barring arithmetic errors. :)

But my feeling is that Kano is being criticised for something he never said or intended.


My criticism of Kano is about his presenting this position

Click Here To Show Diagram Code
[go]$$ Double sente???
$$ --------------------
$$ | . . . . . . . O X .
$$ | . . . X O . . O X .
$$ | X X . X O . O O X .
$$ | . X . X X O . O X ,
$$ | X X X X O O O O X .
$$ | O O O O X X X X X .
$$ | . . . O O O . . . .
$$ | . . . . . . . . . .[/go]


as a double sente when it is, in fact, a 7 point sente for Black,

and for presenting this position

Click Here To Show Diagram Code
[go]$$B Two point double sente???
$$ -----------------------
$$ | . . . . . . . . . O .
$$ | . . . . . . . . . O .
$$ | X X X X X . O O O O .
$$ | . . . , . . . . . , .[/go]


as a double sente (assuming the existing stones to be alive and safe) when it is, in fact, a gote that gains around 3 2/3 points. (It may possibly be a White sente if I have made an error with the White follow-up after White plays the kosumi.)

Kano probably had a ghost writer, but he put his stamp on both of these examples.

First and foremost the idea of double sente has been around since at least Shi Dingan referred to it in the Qing dynasty, and it is alive and kicking today in each of the oriental go-playing countries. Kano sticks to his guns in the 1985 edition of his book, and although it's a different example he still uses a large-scale one where the value of the respective sente moves is very different.


It sounds like, as with the gote with the huge replies that gain 19 points and 17 points, it would be very likely that either player could make the play with sente. IMO, that is not worth quibbling about.

The huge Chinese "Practical Comprehensive Manual of Go" of 1997 gives an example with a totally different position but likewise a huge discrepancy in the value of the two sentes. One allows killing of a group if unanswered, the other just allows a non-fatal incursion, i.e. the same idea as in Kano's big 1974 example. Yang Jinhua and Wang Qun also give examples in Chinese, large and small scale, in all cases with different values for each side's plays.

The Taiwanese author Li Song gives examples, too, and also has a good introduction on the history of boundary plays going back to Guo Bailing, i.e. early 17th century.


It sounds like these are also plays where the follow-ups gain more than 15 points. If so, not worth quibbling about. :)

I'll skip Korean examples, as I think the picture is clear enough: we have had in place a method of talking about boundary plays for centuries. It beggars belief that if this was flawed, someone - even if he had to be a genius like Go Seigen - would not have mentioned it.


It was my study of pro games that first made me question the idea of double sente, because the pros so often left what the textbooks call double sente unplayed or unanswered. The idea of double sente, understood correctly, is not a problem. The problem comes with identifying certain local positions and plays as double sente. Why do the books persist in doing so? Especially as the pros do not play that way? I can only guess. (One reason is that the pros do not follow the textbooks. But then, they are not expected to. ;)) O Meien's book has broken that mold, fortunately. :)

So has Bill defied the odds? Maybe, and the novelty of CGT gives some grounds for believing in a platform for new insights. But as with conspiracy theories, I always think Occam's Razor is a better tool.


Oh, I identified the 7 point sente and the 20 point gote in 1975, some 19 years before I heard of combinatorial game theory. ;) All it takes is the traditional go evaluation. :) I did not bother calculating the other example, as it was obviously not a double sente.

I believe the Oriental usage of double sente is nothing more than a description, that works in the same rough-and ready way that I say my wife's dress is red but accept she may call it burgundy, cherry, salmon, fuchsia, etc. (and in the way of the world I have accept I'm wrong while knowing I'm right enough). In contrast, while Bill will have to speak for himself as to exactly what he means by double sente, what comes over to me is that he sees it as a cog in a mechanism, and if that cog isn't exactly machined the whole mechanism will grind to a halt. Great if he can do it, but it's hardly fair to Kano and the others to blame them for non-working cogs.


John, ask yourself this. If Bill is wrong, why doesn't O Meien include double sente in his book, like every other writer on yose? Double sente being such a useful cog and all. ;) He does not need to, does he? As you point out, practical, global double sente arise in nearly every game, often more than once; they are played and answered, and nobody blinks an eye. They are not the problem. It is the textbooks that are the problem.

Imagine the situation in the aforementioned 20-point + 7-point double sente at which Bill took umbrage where one side has an area large enough not to have its life affected, but where that position arises only because that side has just made a move to create that area. Obviously he has gote. Just as obviously the other side will grab the sente. As he plays it he will perhaps think of it only as sente play, but if he was given that position cold and told he had sente, and he wants to know where to play, it is useful to be able, descriptively, to give general advice along the lines of "give priority to double sentes".


The 7 point sente position is so far from a practical double sente it's not funny. If you presented it to O Meien and asked him if it was a 7 point sente for Black, I am reasonably certain that he would agree, barring an error on my part. He would not say, Oh no, it is really a double sente. Why should it be given priority over other sente where the reverse sente gains around 7 points?

And if you presented the gote that gains 20 points, I doubt if he would disagree. He might well say, why bother with calculations, when it will almost always be double sente?

And if you presented the "two point double sente" position and asked if it was double sente, I hope that he would just laugh. Or he might just look at you funny, like Jujo did to me when we were kibitzing a game and I pointed out that one of the players had not responded to a "double sente". ;)
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John Fairbairn
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Re: How to tell if a play or position is sente

Post by John Fairbairn »

Bill

Thank you for coming back to this, but I still feel we have a complete disconnect. Accordingly, to save precious time for both of us, I will make this my last post on the topic by presenting the evidence for other people to draw concusions. But as regards your points, I would say that your noticing that double sente plays were played at a different time from what you expected can (and should?) be easily explained by the caveats made by all the oriental writers (including Kano) as regards aji and timing.

First, what Kano says in his 1974 book about the “big” double sente.

DOUBLE SENTE[/b]

Click Here To Show Diagram Code
[go]$$ Diagram 1
$$ ----------------------
$$ | . . . . . . . O X . .
$$ | . . . X O . . O X . .
$$ | . . . X O . O O X . .
$$ | . . . X X O . O X , .
$$ | X X X X O O O O X . .
$$ | O O O O X X X X X . .
$$ | . . . . . . . . . . .
$$ | . . . . . . . . . . .[/go]

Diagram 1 This position is an example of double sente. Playing the hane-and-connection in either the left or right corner is sente whether White or Black plays first.


Click Here To Show Diagram Code
[go]$$W Diagram 2
$$ ----------------------
$$ | . . 2 1 3 . . O X . .
$$ | . . 4 X O . . O X . .
$$ | . . . X O . O O X . .
$$ | . . . X X O . O X , .
$$ | X X X X O O O O X . .
$$ | O O O O X X X X X . .
$$ | . . . . . . . . . . .
$$ | . . . . . . . . . . .[/go]

Diagram 2 Against the hane-and-connection of White 1 and 3, Black cannot omit patching up at 4. This means White has achieved his goal of playing in sente.


Click Here To Show Diagram Code
[go]$$B Diagram 3
$$ ----------------------
$$ | . . . 3 1 2 . O X . .
$$ | . . . X O 4 . O X . .
$$ | . . . X O . O O X . .
$$ | . . . X X O . O X , .
$$ | X X X X O O O O X . .
$$ | O O O O X X X X X . .
$$ | . . . . . . . . . . .
$$ | . . . . . . . . . . .[/go]

Diagram 3 Now, in contrast, it is the hane-and-conenction of Black 1 and 3 which is sente. If White omits 4, he will die.

In other words, as regards number of points it is only a 4-point swing, but what must not be overlooked is that it has the condition of being double sente.

This means playing it takes priority even over a large boundary play of 20 points or 30 points, and that it is a boundary play that must be played.

However, it is necessary to recognise here too that a difference in rights can occur depending on the position, even though it is likewise refered to as a double sente.


Click Here To Show Diagram Code
[go]$$B Diagram 4
$$ ----------------------
$$ | . . . 3 1 2 . O X . .
$$ | . . . X O 4 . O X . .
$$ | X X . X O . O O X . .
$$ | . X . X X O . O X , .
$$ | X X X X O O O O X . .
$$ | O O O O X X X X X . .
$$ | . . . . . . . . . . .
$$ | . . . . . . . . . . .[/go]

Diagram 4 An example is a case such as in this diagram.

Against the hane-and-connection of Black 1 and 3 White definitely cannot omit 4. But…


Click Here To Show Diagram Code
[go]$$W Diagram 5
$$ ----------------------
$$ | . . 2 1 3 . . O X . .
$$ | . . 4 X O . . O X . .
$$ | X X . X O . O O X . .
$$ | . X . X X O . O X , .
$$ | X X X X O O O O X . .
$$ | O O O O X X X X X . .
$$ | . . . . . . . . . . .
$$ | . . . . . . . . . . .[/go]

Diagram 5 Even if White plays the hane-and-connection of 1 and 3 first, it is reasonable that Black should connect at 4, but we cannot say that Black 4 is absolute. He can consider playing elsewhere.


Click Here To Show Diagram Code
[go]$$W Diagram 6
$$ ----------------------
$$ | . 3 X O O . . O X . .
$$ | . . 1 X O . . O X . .
$$ | X X 2 X O . O O X . .
$$ | . X . X X O . O X , .
$$ | X X X X O O O O X . .
$$ | O O O O X X X X X . .
$$ | . . . . . . . . . . .
$$ | . . . . . . . . . . .[/go]

Diagram 6 That is because even if Black suffers the cut at White 1 he can live with 2.

The difference is that White 4 in Diagram 4 is absolutely required, but Black 4 in Diagam 5 has the possibiity of being omitted.

In short, it means Black has the right of precedence. I use the expression “certainty” for this. Diagram 1 is a completely equal double sente but in the position of Diagram 4 it is more certain that Black will play first.

Even with similar double sentes, it is correct to start with the obe with greater certainty.

“Double sente” refers to these sorts of boundary plays.


He then goes on to single sente, but if I may highlight a couple of things in the above: (1) he is using “I” and so is not just signing off on a ghostwriter’s script; (2) he is clearly differentiating categories of double sente, and despite that he sticks to the term double sente; (3) he is using the word “rights” even before O Meien latched on to it.

Now from Kano’s section on TWO-POINT MOVES:

Click Here To Show Diagram Code
[go]$$B Diagram 14
$$ ------------------------
$$ | . . . . . a b . . O . .
$$ | . . . . c 1 2 . . O .
$$ | X X X X X d O O O O . .
$$ | . . . , . . . . . , . .
$$ | . . . . . . . . . . . .[/go]

Diagram 14 In positions such as the diagram, Black’s diagonal move 1 may be played in sente. The reason is that if White omits 2 Black may be able to encroach further into White’s territory, and in that case we would assume White will answer at 2 as in the diagram.

Black cannot hope for a forcing move beyond this, however. Play in this position would come to a pause as is.

It is a tenet of boundary plays that we count this position by assuming eventually Black A, White B, and White C, Black D, as in the following position.


Click Here To Show Diagram Code
[go]$$ Diagram 15
$$ ------------------------
$$ | . . . . . X O . . O . .
$$ | . . . . X X O . . O .
$$ | X X X X X O O O O O . .
$$ | . . . , . . . . . , . .
$$ | . . . . . . . . . . . .[/go]

Diagram 15 Black’s territory is 9 points, White’s territory is 4 points.

So, if we assume instead that it is White who plays the diagonal move of Diagram 14 and calculate the difference, the number of points it has will be clear.


Click Here To Show Diagram Code
[go]$$W Diagram 16
$$ ------------------------
$$ | . . . . . . . . . O . .
$$ | . . . . 2 1 . . . O .
$$ | X X X X X . O O O O . .
$$ | . . . , . . . . . , . .
$$ | . . . . . . . . . . . .[/go]

Diagram 16 Against White 1 the inevitable defence would be Black 2. And in this case, too, as previously mentioned, there will be no room for White to be able to make a forcing move in sente beyond that.

This position would then become as follows.


Click Here To Show Diagram Code
[go]$$ Diagram 17
$$ ------------------------
$$ | . . . . X O . . . O . .
$$ | . . . . X O O . . O .
$$ | X X X X X X O O O O . .
$$ | . . . , . . . . . , . .
$$ | . . . . . . . . . . . .[/go]

Diagram 17 Black’s territory is 8 points, White’s territory is 5 points.

The difference with Diagram 15 is:

Black: 9 points – 8 points = 1 point
White: 5 points – 4 points = 1 point
1 point + 1 point = 2 points

In other words, the diagonal moves in Diagonal 14 and Diagram 16 are counted as “2 points in sente”.

However, what must not be forgotten is that this is a “double sente” Among boundary plays a double sente refers to the largest play, because the side playing it first makes an unconditional gain. This is why the proverb “Do not cede double sentes” is regarded as a cast-iron rule.


I still do not see anything objectionable there.

Moving on to O Meien, he is redefining things for his own purpose. He points out that when people say a move is worth X points it’s not clear whether they means by deiri counting or something else. So, for example, he defines gote X points to means specifically what others refer to as double gote. Similary, while he avoids double sente, he does imply it by his constant use of “rights” (Quote: If we were to give a definition of “right” here, it would be: if the next move is bigger than the move just played, that move has been your right.)

It is all rather like when RJ uses connect-1 and connect-2 that doesn’t stop the rest of us continuing to say connect if we prefer.

As regards what most of us would consider under the heading of double sente, O gives the following position:



White has just played A, and O says this was the only move because he has to prevent a Black play at B. He adds that this move at B would be worth less than 20 points in de-iri terms, but it is much bigger in reality because it creates very bad aji for White. Now O had to think about whether to block on the lower side. It was obviously a difficult decision because he spends 7 pages explaining why he ended up playing at C, so he didn’t regard it as double sente but we can easily see why any amateur would – but that’s not my main point. He may not use the term double sente but he does explicity say that a White jump into Black’s lower side territory would be “only a 7 point sente” (though he later modifies this to a 5 point sente”. But it’s not a sente because he’s prepared to ignore it, as he goes on to show. But he doesn’t advocate not calling it sente for that reason, no more than I think we should avoid calling Kano’s kind of positon a double sente. It’s accepted, it’s practical, and it’s not confusing. What is confusing are cases like the above game, and they are confusing not becauase of terminology or proverbs, but because go is difficult.

What it all boils down to for me is that you say tomayto and Kano says tomahto and you are saying is he wrong. I say it is just a preference. O Meien may seem to be calling it ketchup, but it’s a different product, and that doesn’t make Kano’s usage wrong either, even if the ketchup turns out be tastier.
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