Bojanic wrote:
Regarding tenuki, definitions, and why I consider it important:
in middlegame, and in endgame, we have a move that is not linked to a group of stones where previous moves were played, followed by sequence of moves that might follow it. Playing tenuki move in middle game is hard, it cannot be learnt from the books like fuseki, you have to be strong to get it right. It could be played on entire board, and finding correct move, or move similar to some AI program, is therefore much more difficult. That is why we have to give such moves more attention. It is a bit wide definition of tenuki, and any move which could fit into this description should be analyzed, even some close ones.
Sequence following tenuki could be few moves, or tens of moves long. Some of it's moves could be forced, other's easy to spot, while generally all the good moves are located in vicinity, therefore they are much easier to be found or stumbled accidentally upon. Sequence of moves could contain lot of moves similar to AI best choices, depending on position and player's strength. Analysis of such sequences should be done on entire sequence.
There are short units of play, such as hane-tsugi, longer units, like one lane roads, and longer sequences that are not so tightly linked, such a plans. In the Metta-Ben David game it seemed to me that the sequence Black 85 - Black 101, was a plan to solidify Black's advantage after White's big mistake,

, and wedge on the previous move,

. (I am not sure that a kyu player would come up with such a plan, but it would not be unusual for a mid-dan amateur, IMO.) It starts with the miai exchange,

-

.
- Click Here To Show Diagram Code
[go]$$Bcm85 Metta (W) - Ben David
$$ ---------------------------------------
$$ | . . . . X . . . . . . . . . . . . . . |
$$ | X X . . . X O . . . . . . . . . . . . |
$$ | . O X X X O . . O X X . X . . . X . . |
$$ | . O O O X O . O . O O X . . . , . . . |
$$ | . . . . O X X . . . O . . . . . . . . |
$$ | . . . . O O . . . . . . . . . . 1 . . |
$$ | . O O O X X . . O . . . . . . . . . . |
$$ | . X . O O X . O . . . . . . . . . . . |
$$ | . . X X X X X X X . . . . . . . W . . |
$$ | . . . , . O . . . , . . . . . , . . . |
$$ | . . O . O . O . X . . . . . . . . . . |
$$ | . . . . . . . . . X . X . . . . 2 . . |
$$ | . . . . . . O X X O . . . . . . . . . |
$$ | . . . . . . O X O O . . . O . . X . . |
$$ | . . X . . . . O . . . . . . . . . . . |
$$ | . . . X X X O . . , . . . . . , . . . |
$$ | . . X O O X O . . . . . . O . . X . . |
$$ | . . . . X O . O . . . . . . . . . . . |
$$ | . . . . . . O . . . . . . . . . . . . |
$$ ---------------------------------------[/go]
Next we have the sente sequence,

-

.
- Click Here To Show Diagram Code
[go]$$Bcm87 Metta - Ben David
$$ ---------------------------------------
$$ | . . . . X . . . . . . . . . . . . . . |
$$ | X X . . . X O . . . . . . . . . . . . |
$$ | . O X X X O . . O X X . X . . . X . . |
$$ | . O O O X O . O . O O X . . . , . . . |
$$ | . . . . O X X . . . O . . . . . . . . |
$$ | . . . . O O . . . . . . . . . . X . . |
$$ | . O O O X X . . O . . . . . . . . . . |
$$ | . X . O O X . O . . . . . . . . . . . |
$$ | . . X X X X X X X . . . . . . . O . . |
$$ | . . . , . O . . . , . . . . . , . . . |
$$ | . . O . O . O . X . . . . . . . . . . |
$$ | . . . . . . . . . X . X . . . . O . . |
$$ | . . . . . . O X X O . . . . . . . . . |
$$ | . . . . . . O X O O . . . O . . X . . |
$$ | . . X . . . . O . . . . . . 6 . . . . |
$$ | . . . X X X O . . , . . . . 4 5 . . . |
$$ | . . X O O X O . . . . . . O 3 . X . . |
$$ | . . . . X O . O . . . . 0 2 1 . . . . |
$$ | . . . . . . O . . . . . 8 7 9 . . . . |
$$ ---------------------------------------[/go]
This is almost a one lane road.

is not forced, but is fairly predictable. The rest of Black's moves stem from the desire to settle the position. I am not sure that I would call

a tenuki, since after

White threatens to attack the bottom right corner. Still, I think that it is an important play.
Next, we have a kikashi sequence to bolster the center.
- Click Here To Show Diagram Code
[go]$$Bcm97 Metta - Ben David
$$ ---------------------------------------
$$ | . . . . X . . . . . . . . . . . . . . |
$$ | X X . . . X O . . . . . . . . . . . . |
$$ | . O X X X O . . O X X . X . . . X . . |
$$ | . O O O X O . O . O O X . . . , . . . |
$$ | . . . . O X X . . . O . . . . . . . . |
$$ | . . . . O O . . . . . . . . . . X . . |
$$ | . O O O X X . . O . . . . . . . . . . |
$$ | . X . O O X . O . . . . . . . . . . . |
$$ | . . X X X X X X X . . . . . . . O . . |
$$ | . . . , . O . . . , . . . . . , . . . |
$$ | . . O . O . O . X . . . . . . . . . . |
$$ | . . . . . . . . . X . X . . . . O . . |
$$ | . . . . . . O X X O 1 . . . . . . . . |
$$ | . . . . . . O X O O 2 3 . O . . X . . |
$$ | . . X . . . . O . . . 4 . . O . . . . |
$$ | . . . X X X O . . , . . . . O X . . . |
$$ | . . X O O X O . . . . . . O X . X . . |
$$ | . . . . X O . O . . . . O O X . . . . |
$$ | . . . . . . O . . . . . O X X . . . . |
$$ ---------------------------------------[/go]
Again, I think that this sequence forms a unit.
- Click Here To Show Diagram Code
[go]$$Bc Metta - Ben David.
$$ ---------------------------------------
$$ | . . . . X . . . . . . . . . . . . . . |
$$ | X X . . . X O . . . . . . . . . . . . |
$$ | . O X X X O . . O X X . X . . . X . . |
$$ | . O O O X O . O . O O X . . . , . . . |
$$ | . . . . O X X . . . O . . . . . . . . |
$$ | . . . . O O . . . . . . 1 . . . X . . |
$$ | . O O O X X . . O . . . . . . . . . . |
$$ | . X . O O X . O . . . . . . . . . . . |
$$ | . . X X X X X X X . . . . . . . O . . |
$$ | . . . , . O . . . , . . . . . , . . . |
$$ | . . O . O . O . X . . . . . . . . . . |
$$ | . . . . . . . . . X . X . . . . O . . |
$$ | . . . . . . O X X O X . . . . . . . . |
$$ | . . . . . . O X O O O X . O . . X . . |
$$ | . . X . . . . O . . . O . . O . . . . |
$$ | . . . X X X O . . , . . . . O X . . . |
$$ | . . X O O X O . . . . . . O X . X . . |
$$ | . . . . X O . O . . . . O O X . . . . |
$$ | . . . . . . O . . . . . O X X . . . . |
$$ ---------------------------------------[/go]
Finally, Black plays the double keima at 101.
In this plan it seems to me that there are four significant Black choices: moves 85, 87, 97, and 101. It also seems to me that this plan, and these plays are well within the competence of a European 4 dan.
This is something I considered writing up about this game early on, but I decided that focusing on the statistics was better at that time.

(Edit: Actually, I did say something along these lines here:
viewtopic.php?p=229069#p229069 )
I see that you agree with me that moves 87, 97, and 101 are significant.
- Click Here To Show Diagram Code
[go]$$Wcm4 Metta - Ben David
$$ ---------------------------------------
$$ | . . . . X . . . . . . . . . . . . . . |
$$ | X X . . . X O . . . . . . . . . . . . |
$$ | . O X X X O . . O X X . X . . . X . . |
$$ | . O O O X O . O . O O X . . . , . . . |
$$ | . . . . O X X . . . O . . . . . . 2 . |
$$ | . . . . O O . . . . . . X . . . X 1 6 |
$$ | . O O O X X . . O . . . . . . . 4 3 . |
$$ | . X . O O X . O . . . . . . . . 5 . . |
$$ | . . X X X X X X X . . . . . . . O . . |
$$ | . . . , . O . . . , . . . . . , . . . |
$$ | . . O . O . O . X . O . . . . . . . . |
$$ | . . . . . . . . . X X X . . . . O . . |
$$ | . . . . . . O X X O X . . . . . . . . |
$$ | . . . . . . O X O O O X . O . . X . . |
$$ | . . X . . . . O . . . O . . O . . . . |
$$ | . . . X X X O . . , . . . . O X . . . |
$$ | . . X O O X O . . . . . . O X . X . . |
$$ | . . . . X O . O . . . . O O X . . . . |
$$ | . . . . . . O . . . . . O X X . . . . |
$$ ---------------------------------------[/go]
Next, Black 105 - 109 form a unit. B 105 is a significant choice. At least Black has to decide which side to hane on. Perhaps 109 is also significant, but it combines attack and defense, guarding against the clamp.
- Click Here To Show Diagram Code
[go]$$Wcm10 Metta - Ben David
$$ ---------------------------------------
$$ | . . . . X . . . . . . . . . . . . . . |
$$ | X X . . . X O . . . . . . . . . . . . |
$$ | . O X X X O . . O X X . X . . . X . . |
$$ | . O O O X O . O . O O X . . . , . . . |
$$ | . . . . O X X . . . O . . . . . . X . |
$$ | . . . . O O . . . . . . X 1 . . X O X |
$$ | . O O O X X . . O . . . . . . . X O 4 |
$$ | . X . O O X . O . . . . . . . . O 2 . |
$$ | . . X X X X X X X . . . . . . . O 3 . |
$$ | . . . , . O . . . , . . . . . , . . . |
$$ | . . O . O . O . X . O . . . . . . . . |
$$ | . . . . . . . . . X X X . . . . O . . |
$$ | . . . . . . O X X O X . . . . . . . . |
$$ | . . . . . . O X O O O X . O . . X . . |
$$ | . . X . . . . O . . . O . . O . . . . |
$$ | . . . X X X O . . , . . . . O X . . . |
$$ | . . X O O X O . . . . . . O X . X . . |
$$ | . . . . X O . O . . . . O O X . . . . |
$$ | . . . . . . O . . . . . O X X . . . . |
$$ ---------------------------------------[/go]

also strikes me as a significant choice, as it allows White to seek complications.
I don't know whether you agree with me about Black 105 and 111, but this demonstrates how human judges could reach agreement about which plays are significant.
