Cassandra wrote:
Concerning your apparently deep aversion to "shapes" / "positions" (at least you seem to regard these as worth less than "sequences"):
My aversion is about the myth that shape knowledge (other than that of terminal positions) could significantly increase reading skill by something like providing "missing links" between different phases of reading into a problem or tesuji shapes guiding towards faster reading. I am beyond that illusion. John's advertisement for viewing shapes as something dynamic comes closer to reality because shapes are constantly changing during the sequences. But then we speak of techniques rather than only shapes.
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Dôsetsu writes in his postscript to Igo Hatsuyôron that it will become extremely difficult to reach perfection without harmony between "shapes" / "positions", and "sequences".
Uh, is he saying anything else than that sequences consist of alternating moves and positions? I.e., both are equally important so to say.
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Relying too much on "sequences" means that one has not yet sufficient understood "shapes" / "positions".
Sequences consist of moves and positions, even if one writes them down only as moves. Each move leaves and reaches a position. So what meaningful are you saying?
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Igo Hatsuyôron #120
Not only #120 :)
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Where is the problem with it ?
The problem with relying on shapes although similar ones can have very different behaviours is that one must not draw (naive) conclusions from one known shape to a very similar unknown shape, although it may be very tempting to do so.
Kirby wrote:
otherwise, I would have no systematic way of searching for the next move
In such a case, if necessary, consider each interesting move. Preferably, in an order of perceived decreasing likelihood of success, else random.
Of course, AFTER having discarded the obvious failures and obviously inferior moves.