I have been doing the tabula rasa approach to new vocabulary. I do not see how AI (pure moves and their statistics) provides any vocabulary - please suggest a related approach!
I have not been doing any work on this myself directly, but because of my own interests and professional background I analyse language as a matter of course. I have therefore noticed certain things. I'll mention some of them, but in a higgledy-piggledy fashion in the hope of starting off a brainstorming exercise. I'll number the points, but that is not to imply any kind of order. It's just so that other people can refer back to the individual points if they want to.
1. I have been struck by how similar old Chinese go is to AI go. It has often been remarked that Go Seigen's go looks very like AI go. He was heavily influenced by old Chinese go. There may be a connection.
2. Old Chinese go was heavily influenced by group tax, which has far more impact on ALL phases of the game than you might expect. Among these effects is an emphasis on group connections, even very early in the game. This leads to a great use of call & response (zhaoying) moves early on. It is not necessarily an immediate connection. I like to call them lighthouse moves - where the move stands out as a beacon offering comfort to ships (groups) that may fall into distress on the vast ocean of the board. I am 100% certain this is a feature of AI go.
3. Another feature of old Chinese go is that moyos are rare. This seems to be true also of AI go, too. I suspect the lighthouse moves are there to provide connectability and NOT to create moyo frameworks - this seems to be borne out by the near disappearance of the term "moyos" in commentaries on AI-inspired pro go.
4. There is great reliance on pressuring (jin) as opposed to attacking moves in old Chinese go. This seems matched in modern AI-inspired go where the Japanese are now increasingly referring to semaru instead of semeru.
5. Although I have not seen anyone else use the spider analogy in modern go (it does exist in old Chinese, though), it seems to me that AI go strongly resembles the formation of a spider's web. A spider starts by spinning a sticky thread and lets the wind blow it where it will until it sticks on an object some distance away. It then marches across this thread to add an extra, strengthening strand. This process can be repeated. It seems to me that AI go is similar. It is not specially concerned with bases but with connections across the vast expanse - the empyrean - of the centre of the board. I see the interference presented by the opponent as the effect of the wind. You have to be prepared to follow it - go with the flow.
6. One thing that follows from the web-making analogy is that you have to be flexible. I think that in commentaries this becomes most noticeable in the frequent use of trades (furikawari). I personally don't see this as a technical term - it can't really be defined, and so is more of a descriptive term. But trades do seem to be more frequent in AI-inspired go, and (if that is true) I can see that it would follow from the spider's web style of play.
7. When AI first impacted pro go, there was a lot of mention of AI creating overconcentration of the opponent's shapes early on. That seems to have disappeared. I infer that the reason is that pros have learned to avoid being overconcentrated even more than they did before, and since it rarely occurs in their games now, there is no need to use the term in commenting on their games. But I do think it is still a major element in amateur play, and so needs to be talked about, not just as something to avoid, but as something to do to the opponent. Since you can see it quite easily, it has very useful function as an evaluative term. More subtly, lack of it implies a positive evaluation, but that in itself is nothing new in pro go. I see nothing wrong with using the term "overconcentration" in English.
8. There seems to be great stress now on "efficiency" in commentaries but it somehow seems different. It's certainly not the old kind of tewari efficiency, yet it also seems to be more than avoiding overconcentration. As best as I can judge, it seems to be more to do with stones ending up in a good POSITION (nb position, not shape). And my gut feeling is that good position has a lot to do with stones acting as lighthouse stones (or, if you prefer, as parts of a web).
9. The word 'rhythm' seems to come up as lot. This may just be fashionable use of an English term in place of choushi, but it may also betoken a sense of a different feeling to the concept - something more related to creating a web in the centre.
10. Boundary play, even early in the game, seems to be a big feature of AI go. This mirrors the use of shou in old Chinese go. But it is seems tied in with pressurising moves (jin/semaru). The point is that if you simply pressurise instead of attacking to kill, you do not end up overstretching and leaving gaps behind in your position. With slower pressuring you form natural boundaries in a defect-free way. Of course, if the opponent blunders you can still kill him - your defect-free positions also make that a lot easier, too.
11. The 9-dan Nakane Naoyuki is currently playing a 12-game uchikomi match against Katago. The uchikomi kicks in after each game, so he started at even and lost, then switched to -B- (and lost). Presumably the next game will be at two stones. Interestingly, the time limits are set at 20 seconds a move. I'm guessing that he thinks AI is more likely to make mistakes at that rate, but it also means he is relying largely on his own intuition. But even more interesting is his commentary. It may just be journalistic flourishes but he consistently avoids strategic terms and instead uses similes and metaphors to get his points over. As examples that come to mind, he referred to moves acting like an air-freshener (wafting over the entire board, presumably - lighthouse moves, I'd say). Other moves he has acting in unison like a school choir. In different vein he refers to one move being like a firecracker, and another as a "semaru shocker" (using the English word), both times denoting his consternation at overlooking the AI move.
12. Going back to lighthouse moves, I was sensitised to looking for miai moves by writing my book on Shuei's games. He was famous for his use of miai, and this was often associated with his use of L-shapes facing the centre. I therefore now naturally look for such moves, and what I'm convinced I've seen a lot of in AI play is what I call triai and quadai (i.e. moves that leave 3 or 4 alternative follow-ups instead of just two. That would certainly tie in with lighthouse moves.
13. When I used to actually play go, there was one thing in particular that used to dismay me - and I know I'm far from alone in this among amateurs. It was how often I'd get to the end of the middle game and find that I had lots of open skirts or the like, and if I didn't have sente, the Barbary ape opponents would tease me with monkey jump after monkey jump, snatching all my doughnuts from my sticky fingers. This didn't seem to happen very often with pros, but I couldn't work out why. It happens even less in AI go and at last I think I can see why. AI seems to have a habit of making a lot of early moves on the second line (just like Go Seigen, I'd say) but not to make bases (bases don't seem to mean much to AI). AI does it so that it doesn't have to worry about making these moves later. If you want a term for this, I will grit my teeth and say "early doors." That is a a term I actually hate - it puts my teeth on edge in fact. I've never really understood it, and it's (in my mind) a Cockney or Southern phrase. It was certainly not used where I lived. Some people say it refers to the practice of men queuing up outside pubs just before opening time when licensing laws were strict about opening times - I did see such lines, very long ones, as a kid, but that may be folk etymology. But it may fit in go in another sense: locking the doors on the open sides ultra early.
14. I strongly suspect that the Five Lands theory of Huang Longshi, in which regions of the board are described by five of Sun Zi's nine categories of landscape an army might find itself in, will prove fertile for talking about AI go. You can check out Chapter 11 of the Art of War if that interests you.
Here are a couple of interesting points fron Nakane's latest game with Katago. Katago played 10 next at 'a'. Nakane described this as a probe. Not the first term that would come to mind in traditional go! This is something I have seen elsewhere.
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- Click Here To Show Diagram Code
[go]$$B
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Later in the game, Nakane described White 1 (actually 58) as the semaru shocker. Again, semaru is not the first term that would come to mind traditionally, but it served the purpose of semaru (as opposed to semeru) in that White almost the entire lower-left quadrant as a result of pressure on Black's lower-centre group in return for sacrificing the entire group that included White 1 (a trade, in other words - large sacrifices and trades being a feature of AI go)
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- Click Here To Show Diagram Code
[go]$$W
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$$ ----------------------------------------|[/go]