American Go E-Journal » Go Art
Sunday January 15, 2012
Monday December 26, 2011
A scene featuring 3-dimensional go was spotted in Andromeda, the Canadian-American science fiction television series based on unused material by Star Trek creator Gene Roddenberry, which ran from 2000 to 2005. “In the Double Helix episode there’s a scene where the captain is playing (starting at 5:27), not tri-level chess like Spock and Kirk, but rather tri-level go and they even refer to it as ‘go,’” reports Fr. Mark Lichtenstein of Holy Trinity Greek Orthodox Cathedral in Camp Hill, PA. “The game (portrayed) doesn’t look like a real game though. Not that tri-level go is a normal variant like 9×9 or 13×13.” There’s a last glimpse of the game in the first seconds of this clip as well.
Monday October 24, 2011
The American Go Association is sponsoring the 2012 International Go Symposium, a scholarly conference to explore go’s rich educational, cultural, historical, literary, artistic and scientific dimensions. Papers are now being accepted for presentation during next year’s U.S. Go Congress in Black Mountain, NC. Selected papers will be presented by their authors in 30-minute presentations, followed by interaction with the audience. The organizers are working on a way for authors to present remotely via Skype. Anyone can submit a paper for consideration. If you are interested in submitting a paper, contact Peter Shotwell, the well-known go author who is organizing this event, at firstname.lastname@example.org. Financial sponsorship is limited, although the organizers would welcome support for this effort to improve the understanding of go through study and discourse. The 2012 IGS joins an academic tradition of go study that began in 2001, with the First International Conference on Baduk, organized by the Department of Baduk Studies at Myong-ji University. To get an idea of what’s been presented at other conferences — and perhaps be inspired to submit your own paper — the 3rd ICOB,and the 2008 Symposium on the History of Go and the Representation of Go in Art and Literature have listed their programs online, although the presentations themselves are not available. For further information contact Shotwell at email@example.com.
- Roy Laird
Sunday September 25, 2011
E-Journal reader Michael Albert spotted go in Fist of Fury (aka The Chinese Connection), the 1972 Hong Kong martial arts film starring Bruce Lee in his second major film. “When a scene came up with a go board in it, I was a little skeptical at first,” says Albert, “but then after reviewing the scene a couple times — and watching to go board get thrown at someone’s face — I realized that I was seeing the real deal. A previous scene shows to people placing stones on the board. I can’t tell you if they were playing a real game or just placing random stones on the board.”
Sunday September 4, 2011
“The 1st International Children’s Go is Art Painting Contest received submissions from the US, Mexico, Japan, the Philippines and India,” reports Alma G. Juarez, of Mexico City. “We wanted to make go culture flourish among children, and promote it through a creative exchange with the painting contest,” Juarez told the Journal, “there were three categories A, B and C from 6 to 15 years old, and kids were free to use any technique they wanted for their artworks. All the paintings we received were amazing and we could see the creativity and love that these children have for go.” The submissions are all online, and can be seen here. “The decision about the finalists was hard for the panel of judges,” said Juarez, “but we can say that the experience was great for everyone. We included a Special Mention for Takumi Shimada, a four-year-old Japanese boy. Even though his age wasn’t under any category, he submitted a painting showing his love for go and his will to learn. Also we had the finalist submission of Aaron Ye 4d, who recently represented the US at the World Youth Go Championship, he’s not just a strong go player but also a great artist! For all the children that didn’t have the opportunity to participate in the ‘Go is Art’ Painting Contest, it will be an annual event, so don’t hesitate to send your submissions next year!” -Paul Barchilon, E-J Youth Editor. Quotes translated from the Spanish by Siddhartha Avila. Photo: Jamia Mei Tolentino’s “Happiness with Go” An entry from the Philippines.
Thursday July 28, 2011
“Episode 49 of Kenichi: The Mightiest Disciple said a little about go,” reports EJ reader Asa Euster. “Not much,” Euster adds, “the show was just using go as an example of a game of territory.” Kenichi is an anime based on the Japanese manga by Syun Matsuena.
Night Train is “a low-budget thriller about how greed can drive a person to do terrible things, and it features go!” writes Will Lockhart. “The film (starring Danny Glover, Leelee Sobieski and Steve Zahn and available on Netflix) takes place on an overnight train somewhere in Northern Europe. A man commits suicide by overdosing on pills, and when two other passengers and the conductor discover that he has a box containing precious jewels, they hatch a plan to dispose of a dead man’s body and take the box. The film periodically cuts back to two Asian men on the train, playing go, though the game looks like a fairly weak kyu game. Not only is there go in the movie, but its presence actually may be symbolic of the greed that overtakes the train passengers.”
Sunday July 10, 2011
When Frank Lantz thinks about games, he doesn’t play around. Lantz teaches game design at NYU’s Interactive Telecommunications Program, the School of Visual Arts, and the New School. He created games for Cartoon Network, Lifetime TV, and VH1 before becoming becoming the co-founder and creative director of Area/Code. His writings on games, technology and culture have appeared in a variety of publications. In a recent lecture on “Go, Poker and the Sublime” at a game developers’ conference (click here to view online), Lantz declared that games are an art form on a par with music, literature and film, perhaps even “the most important art form of the 21st century. Describing go to his mostly non-playing audience, Lantz comes up with some remarkably well-turned phrases, explaining how “Go is good at teaching itself to you,” “. . . at the border of the discrete and the continuous,” “. . . thought made visible to itself.” I especially enjoyed his riff explaining why “light” is better than “heavy,” yet “thick” is better than “thin.” Lantz goes on with a similarly eloquent description of poker, which he finds to be about “the alchemical transformative power of greed.” Looking at both games together, Lantz sees a contrast with video games that dominate today’s market. Go, poker and similar pastimes are more abstract, less reliant on make-believe – in short, they are games that grownups also play. They are infinite – players do not reach an end point as in narrative-based adventure and role-playing games. He exhorts the game developers in the audience to think big: “I want a game that I can play my whole life, that I can teach my son, and he will play his whole life.” Mostly known for the iPhone app “Drop7,” Area/Code has pursued other innovative “social gaming” ideas such as Macon Money, an alternative currency “game” conducted in “RL” (real life) in Macon, GA; and Budgetball, a physical sport that also requires a certain degree of fiscal planning. In January, Area/Code was acquired by Zynga, the social gaming giant behind Facebook megahits such as Farmville and Mafia Wars, giving Lantz an even bigger arena in which to realize his dream. With its emphasis on building, cooperation and balance, go has much in common with social media games like Farmville and Cafe World (another Zynga biggie) with the added spice of life-and-death struggle. If Zynga’s next games have bit more of a competitive edge, perhaps we’ll know why . . .
- Roy Laird
Saturday June 25, 2011
Yojiro Takita’s next film has an interesting historical connection to the game of go. Takita (r) – who won an Oscar in 2009 for Okuribito (Departures) – is adapting the novel ‘Tenchi Meisastsu,’ about a 17th century astronomer and mathematician. The film is an adaptation of To Ubukata’s novel of the same name, based on the life of Shibukawa, who later took on the name of his father, champion go player Yasui Santetsu, first head of the Yasui house. The novel has won literary awards in Japan on its way to selling 380,000 copies. It was published by Kadokawa, which is collaborating with Shochiku on the movie. Tenchi Meisastsu — which roughly translates as “insights into the universe” — is being shot at Shochiku’s Kyoto studio until the middle of August, and is slated for an autumn 2012 release.
- based on Gavin J. Blair’s story in The Hollywood Reporter, with thanks to Ramon Mercado for spotting the reference.
Sunday June 5, 2011
Janice Kim’s article about go stones in a Japanese internship camp (GO SPOTTING: ‘The Archaeology of Internment’ 5/9) prompted roving E-Journal contributor Peter Shotwell to send along some excerpts from Holly Uyemoto’s 1995 book Go: A Novel, which focuses on generational differences among Japanese-Americans. The sketches below — which are not part of the novel — are from the George Hoshida Collection on the Japanese American National Museum website.
I used to not like Uncle Mas very much. He bored me… I always found Uncle Mas drab, a frog on a log. It requires no stretch of the imagination to picture his tongue popping out suddenly, catching a fly or a raindrop. But one day, my grandmother told me a story about Uncle Mas that changed the way I saw him for good…
Before he became a naturalized citizen, [Ojiichan, another uncle] carried a copy of the Constitution in his wallet and took it with him everywhere he went. He quoted from it freely. After Pearl Harbor… Ojiichan brought out his Constitution and cited the Fourth Amendment rights [but they] took him away, the Constitution neatly folded again and put back in his wallet.
Ojiichan was a great go player [but] deemed a Japanese cultural item, the government barred Ojiichan from taking his old go table with him into camp, so he made one… He learned to shape and polish quartz veined with orange borax, and obsidian black and bright, with edges that cut metal and skin. Uncle Mas was fascinated with the go board. He begged Ojiichan to let him play with it. Ojiichan told him not to go near the board… Later, he brought down the go board and the stones, smooth quartz and biting obsidian, and asked my grandmother, ‘Where is he?’ He then set about teaching Uncle Mas how to play—not the five-in-a-row kind of go that children and Westerners play, but the real thing. Uncle Mas learned quickly. He had an aptitude for strategy: in the end, both too much so, and not enough. Ojiichan’s friends would gather around, joke, give Uncle Mas hints, and make friendly wagers about how many moves it would take Ojiichan to win. The nightly face-off between Ojiichan and Uncle Mas became community entertainment.
Uncle Mas winning was never a question, but one day it happened. About six months after he started playing, he beat Ojiichan. And Ojiichan made him swallow one of his own stones. This was Uncle Mas’s victory, and his punishment. Uncle Mas thought Ojiichan was joking, but he wasn’t. He insisted Uncle Mas swallow the stone. Uncle Mas reasoned that as the winner, he should choose whether or not he had to swallow the stone. Ojiichan said it was his ‘tadai no gisei o haratte eta shyori,’ his conquest, having exceeded his master, and his punishment for the same reason—the Japanese equivalent of Pyrrhic victory.
Uncle Mas swallowed the stone, and he stopped playing go…after his big win, he made himself scarce…The next time my grandmother saw him was when she was called to the infirmary after Uncle Mas had been found in the latrine trying to pass a huge fecal boulder. He was rushed to the hospital and operated on. The doctor said he would be fine. There were no fresh fruits and vegetables to speak of in camp. Most meals consisted of mutton and either rice or potatoes. The camp doctor assured Ojiichan and my grandmother that constipation was entirely normal in camp, but it seemed that there had been an inorganic stoppage of Uncle Mas’s bowels: during his operation, the doctor extracted one perfectly round, flat, knife-edged obsidian stone.
‘Remember that story about Uncle Mas?’ I asked my mother one day. ‘The go stone Ochiijan made him swallow?’ ‘Nobody made anybody swallow anything,’ my mother said. ‘Then why does Uncle Mas have a bad stomach?’ ‘Because he can’t express himself.’ ‘You mean, talk?’
When he was released from the camp infirmary, Uncle Mas was whole again, except that he stopped talking… A week later, he suddenly slumped over. He was rushed back to the infirmary. There were lots of cuts in Uncle Mas’s large intestine; they had ruptured and were bleeding. The doctor removed four feet of Uncle Mas’s large intestine and sewed him up again. ‘Don’t you remember?’ I prodded my mother. ‘Grandma told me.’ ‘I was a baby then. Besides, sometimes she just liked to tell you stories.’
But Uncle Mas still has terrible troubles with his stomach, and he still refuses to play go. I saw him studying Ochiijan’s fancy table once. Uncle Mas ran his hand over the top, touched the carvings, and, pulling back in order to see, squinted at the inlaid grid. He opened the drawers and studied the stones. He held one of the smooth black onyx in his palm, rolling it back and forth. And then he walked away.
- excerpted from Go: A Novel, by Holly Uyemoto
Sketches from the George Hoshida Collection on the Japanese American National Museum website. George Hoshida (1907-1985) was born in Japan and at the age of five, his family settled in Hilo, Hawaii. As an active practitioner of Judo, Hoshida was active at the local dojo. This led directly to his arrest by FBI agents on the day after the bombing of Pearl Harbor as a potential saboteur. Unlike most Japanese Americans living in Hawaii, Hoshida was incarcerated for the duration of the war, first at Kilauea Military Camp and Sand Island in Hawaii and later in mainland Justice Department internment camps at Lordsburg and Santa Fe, New Mexico. Eventually, he was able to rejoin his wife and young daughters, but only when they agreed to leave Hawaii to be incarcerated with him in a War Relocation Authority camp on the mainland. Hoshida began a visual diary of his incarceration from his earliest days in prison. The two notebooks in the collection of the Japanese American National Museum are an extremely rare visual document of the special Justice Department camps and chart his frequent movement from one facility to the next. (Hoshida bio courtesy the Japanese American National Museum, which supports several Japan relief efforts.)
- editing, layout and graphics research by Chris Garlock
Saturday May 14, 2011
Don Winslow’s Satori is based on Trevanian’s Shibumi so it’s not surprising that the novel has go references. “The whole book uses references to go for all its plot twists and turns,” reports Rusty Brown. “The author learned go in college, but said he wasn’t proficient at the game.” A sample from the novel: “When the immediate situation is untenable, Nikko, what do you play for? Time, Otake-sama. Play for the long game.”