I think the draw quotient has always been high in world championship matches because the amount of effort people put into neutralizing each other's openings. It's just now with computers that it has reached a new level.
A player can sometimes afford the luxury of an inaccurate move, or even a definite error, in the opening or middlegame without necessarily obtaining a lost position. In the endgame ... an error can be decisive, and we are rarely presented with a second chance.
Many mothers make the mistake of forever looking for the bad in the child, trying to . . . uproot and drive it out. This is like trying to eject the darkness from a room without opening the shutters and letting in the light. As John Newton said, 'I cannot sweep the darkness out, but I can shine it out.'
Equality? They ought to play the women's final on opening day. Everybody knows who's going to be in it.
Opening Night: The night before the play is ready to open.
I've always had great satisfaction out of writing the plays. I've not always had great satisfaction out of seeing them produced-although often I've had satisfaction there. When things go well in production, on opening there's no nicer feeling in the world-what could be nicer than watching an audience respond? You can't that from a book. It's a fine feeling to walk into the theater and see living people respond to something you've done.
What pornographic literature does is precisely to drive a wedge between one's existence as a sexual being - while in ordinary life a healthy person is one who prevents such a gap from opening up
A journal is more than a memory goad. It's therapeutic. The simple act of opening a notebook to put words down stills the crosscurrents of worry, drawing to focus the essential though patterms that best defines us, intersecting those thoughts with the condition of our life at that exact moment. A journal is one of the few anchors the human condition allows us.
Sometimes at lectures I am asked: how would the champions of the last century play today? I think that, after making a hurried study of modern openings, and watching one or two tournaments, the champions of the last century, and indeed the century before that, would very quickly occupy the same place that they occupied when they were alive.
By the time a player becomes a Grandmaster, almost all of his training time is dedicated to work on this first phase. The opening is the only phase that holds out the potential for true creativity and doing something entirely new.
Barcza is the most versatile player in the opening. He sometimes plays P-KKt3 on the first, sometimes on the second, sometimes on the third, and sometimes only on the fourth move.
Friendship is like a rose. . . opening one petal at a time, only as it unfolds. . . day by day it reveals its true beauty.
Many Chess players were surprised when after the game, Fischer quietly explained: 'I had already analyzed this possibility' in a position which I thought was not possible to foresee from the opening
You can permit yourself any liberty in the opening except the luxury of a passive position.
Kariakin-Shirov saw another theoretical battle in the 6...Bc5 Spanish, which has been one of the opening tabiyas of the event. [...] The most remarkable feature of the game, and a testament to the depth of Kariakin's preparation, is that when the draw was agreed at move 39, his clock showed 1.52 remaining, some twelve minutes more than he started the game with!
Titled players appeared to be trotting out game after game in which the same old hoary opening sequences, memorized out to fifteen, twenty, or even more moves, were repeated endlessly. True novelties were becoming scarcer, and sometimes these 'opening' novelties didn't appear until well into the middlegame. (A master-level friend once proudly showed me a novelty he'd discovered at move twenty-seven of a very well-trodden chess opening, and it's said that even as far back as the 1950's Mikhail Botvinnik had some openings memorised past the thirtieth move).
For the first lesson, I want you to play over every column of Modern Chess Openings, including the footnotes. And for the next lesson, I want you to do it again.
Human life very much resembles a game of chess: for, as in the latter, while a gamester is too attentive to secure himself very strongly on one side of the board, he is apt to leave an unguarded opening on the other, so doth it often happen in life.
Every great master will find it useful to have his own theory on the openings, which only he himself knows, a theory which is closely linked with plans for the middle game.
I still remember Botvinnik's reaction to each of my games, right from the opening moves. At first he would express amazement, then annoyance, and, finally irritation.
The only way I have ever understood, broken free, emerged, healed, forgiven, flourished, and grown powerful is by asking the hardest questions and then living into the answers through opening up to my own terror and transmuting it into creativity. I have gotten nowhere by retreating into hand-me-down sureties or resisting the tensions that truth ignited.
If you think of the universe as a vast electrical sea in which you are immersed and from which you are formed, opening to your creativity changes you from something bobbing in that sea to a more fully functioning, more conscious, more cooperative part of that ecosystem.
But the fundamentalists, the "creationists," seize upon these vacancies in the scientific hotel to pack the conferences with their delegates. They see the opening-creativity is an absolute-and they equate that absolute with their mythic god, and they stuff this god with all the characteristics that promote their own egoic inclinations, starting with the fact that if you don't believe in this particular god, you fry in hell forever, which is not exactly a generous view of Spirit.
So it is a good idea to start simple, I think, and be very careful. There is a spiritual opening in the Kosmos. Let us be careful of how we fill it. The simplest is: Spirit or Emptiness is unqualifiable, but it is not inert and unyielding, for it gives rise to manifestation itself: new forms emerge, and that creativity is ultimate. Emptiness, creativity, holons.
Our first idea is a grand opening, a big launch, a press release, or major media coverage. We default to thinking we need an advertising budget. Our delusion is that we should be Transformers and not The Blair Witch Project.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: