Magnus Carlsen—just 22 years old—beat Viswanathan Anand (the reigning world chess champion) this week at the World Chess Championships in Chennai, India. There has been much excitement about Carlsen’s victory, and not simply because of his youth. As Joe Weisenthal writes, Carlsen’s win signifies the emergence of a new kind of chess. We can profitably speak of at least three eras.
First, what is often called the Romantic era of chess. Here is how Weisenthal describes it:
In the old days, high-level chess was a swashbuckling game filled with daring piece sacrifices and head-spinning multi-move combinations where the winner would pull off wins seemingly out of nowhere.
Beginning in the middle of the 20th century, Weisenthal explains, chess became more methodical. New champions would still take chances, but they were studied risks, more considered, and often pre-tested in preparation games. Players would study all past games by opponents analyzed through computers. This meant that the spontaneous move was more often than not beaten back by the prepared answer.
As the study of chess became more rigorous, these wild games became more and more rare at the highest level, as daring (but theoretically weak) combinations became more easy to repel…. Modern chess champions have won by building crushing, airtight, positional superiorities against their opponents, grinding them down and forcing a resignation. The chess is amazing, although frequently less of a high-wire act.
The third era of recent chess might be called the computer age. It began, for better or worse, when IBM’s Deep Blue super computer beat the great chess champion Gary Kasparov in 1997. The current generation of players (like Carlsen) were raised playing chess against computers. This has changed the way the game is played.
In an essay a while back in the NYRB, Kasparov reflected on what the rise of chess-playing computers meant.
The heavy use of computer analysis has pushed the game itself in new directions. The machine doesn’t care about style or patterns or hundreds of years of established theory. It counts up the values of the chess pieces, analyzes a few billion moves, and counts them up again. (A computer translates each piece and each positional factor into a value in order to reduce the game to numbers it can crunch.) It is entirely free of prejudice and doctrine and this has contributed to the development of players who are almost as free of dogma as the machines with which they train. Increasingly, a move isn’t good or bad because it looks that way or because it hasn’t been done that way before. It’s simply good if it works and bad if it doesn’t. Although we still require a strong measure of intuition and logic to play well, humans today are starting to play more like computers.
One way to put this is that as we rely on computers and begin to value what computers value and think like computers think, our world becomes more rational, more efficient, and more powerful, but also less beautiful, less unique, and less exotic. The romantic era of elegant and swashbuckling chess is over. But so too is the rational, calculated, grinding chess that Weisenthal describes as the style of the late 20th century. Since all players are trained by the logical rigidity of playing against computers, playing by pure logic will rarely give one side the ultimate advantage.
Which brings us to Carlsen and the buzz about his victory at the World Chess Championships. Behind Carlsen’s victories is what is being called his “nettlesomeness,” a concept apparently developed by the computer science professor Ken Regan. The idea has been described recently by Tyler Cowen:
Carlsen is demonstrating one of his most feared qualities, namely his “nettlesomeness,” to use a term coined for this purpose by Ken Regan. Using computer analysis, you can measure which players do the most to cause their opponents to make mistakes. Carlsen has the highest nettlesomeness score by this metric, because his creative moves pressure the other player and open up a lot of room for mistakes. In contrast, a player such as Kramnik plays a high percentage of very accurate moves, and of course he is very strong, but those moves are in some way calmer and they are less likely to induce mistakes in response.
For Weisenthal, the rise of “nettlesomeness” signifies the "new era of post-modern chess. It's not about uncorking crazy, romantic brilliancies. And it's not about achieving crushing, positional victories. It's about being as cool as a computer while your opponent does things that are, well, human."
I am not sure Weisenthal gives full credit to Carlsen’s nettlesomeness. Yes, Carlsen does engage in a bit of emotional warfare—the getting up from the table, trying to throw off one’s opponent. But his nettlesomeness also involves “his creative moves pressure the other player and open up a lot of room for mistakes.” This is important.
In Kasparov’s earlier essay, he also describes his experience of two matches played against the Bulgarian Veselin Topalov, at the time the world's highest ranked Chess Master. When Kasparov played him in regular timed chess, he bested Topalov 3-1. But when he played him in a match when both were allowed to consult a computer for assistance, the match ended in a 3-3 draw. The lesson Kasparov drew from this is that computer-assisted chess magnifies the importance of human creativity:
The computer could project the consequences of each move we considered, pointing out possible outcomes and countermoves we might otherwise have missed. With that taken care of for us, we could concentrate on strategic planning instead of spending so much time on calculations. Human creativity was even more paramount under these conditions.
One may, however, question Kasparov’s conclusion. The computers did even out the match. As he admits, “My advantage in calculating tactics had been nullified by the machine.” More often than not, the result of computer-assisted chess is a draw.
What Carlsen’s victory may show, however, is that at a time when most players learn against machines and become technical wizards, it is those players who rise above the calculating game and are adept at finding the surprising or at least unsettling moves that will, at the very top of the sport, prove victorious. That is what Regan and Cowen mean by nettlesomeness. All of which suggests that, at least for the top chess player in the world, chess remains a human endeavor in which creativity can be enlisted to discombobulate human opponents playing increasingly like machines.
For your weekend read, take a long gander at Weisenthal’s essay. It includes simulated chess games to illustrate his point! Happy reading and playing.
"Thinking is skilled work. It is not true that we are naturally endowed with the ability to think clearly and logically - without learning how and without practicing.
One of my favorite images in Arendt's writings comes not from Arendt herself, but her citation of the poem "Magic" by Rainer Maria Rilke. Rilke's poem reads (in an approximate translation):
From indescribable transformation originate
Amazing shapes. Feel! Trust!
We suffer often: To ashes turn our flames;
Yet art can set on fire the dust.
Magic is here. In the realm of enchantment
The ordinary word appears elevated
But sounds as real as if the dove called
To seek its invisible mate.
Arendt cites Rilke's poem in the final section of the chapter of the Human Condition on Work. It is part of her discussion of art and her claim that "the immediate source of the art work is the human capacity for thought."
Art, Arendt writes, has its foundation in thinking. Works of art, she writes, are "thought things." They are thingifications of thoughts, or to use a word that is so often abused, they are reifications of thoughts—The making of thoughts into things. It is this process of transformation and transfiguration that Rilke captures in "Magic": To "set fire to the dust" and bring beauty and truth to the real world. That is what art does.
My mind turned to Rilke's poem as I watched the great South African artist William Kentridge deliver the first of his 2012 Norton Lectures at Harvard University.
Kentridge spoke in praise of shadows, and situated his talk within a reading of Plato's allegory of the Cave in Book VII of the Republic. The story of the cave begins with prisoners shackled and unmovable who see shadows along a wall projected by a fire. First one sets himself free and climbs out into the light of the sun and, slowly, painfully, comes to recognize in the light of the sun that the shadows were indeed shadows, untrue. The parable illustrates the error of sensible things and is one part of Plato's illustration of his theory of ideas. The ideas, supersensible truths of reason and logic, do not deceive and change like the shadowy things of the world. Only what lasts eternally is true; all that is sensible and fleeting is false.
Kentridge tells the story of Plato's cave to explain why he sees art, and especially his art, in opposition to the Platonic idea of truth. If Plato celebrates the primacy of the eternally true over the shadows, Kentridge argues that art elevates the image above the truth. For this reason, at least in part, Kentridge's art works with shadows. Shadow figures and shadow puppets.
Kentridge lauds shadows. In the very limitations of the shadows, in the gaps, in the gaps that inspire in us leaps to complete an image, that is where we think and learn. The leanness of the illusion pushes us to complete the recognition. It is in shadows that we find our agency in apprehending the world.
Shadow art is, for Kentridge, political. Plato's politics depends on a truth known and understood by the few and then imposed on the many. In this sense philosophy is, in Arendt's words, opposed to politics, and the philosopher either must seek merely to be left alone by the people (which is difficult because philosophers are dangerous), or they will always seek to dominate and tyrannize the polity with their reason. Arendt's lifelong battle is to free politics from the certainty of rational and philosophical truth, to open us to a politics of opinion and openness.
Knowledge is power and there is, in Kentridge's words, a relation between knowledge and violence. Kentridge embraces shadows and silhouettes to oppose the philosophical and Platonic tyranny of reason. He writes elsewhere:
I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain ending - an art (and a politics) in which optimism is kept in check, and nihilism at bay.
Optimism must be kept in check since any certainty about the destination can underwrite the need for violence to bring others to that end. For Kentridge, "There is no destination. all destinations, all bright lights, arouse our mistrust."
Kentridge offers us an image of the artist. He speaks from the studio and from his notebook to emphasize the source of artistic truth in the thought image rather than the logical word. An artist thinks. He sees. He makes art. He makes things that reflect not truth and certainty but gaps, misgivings, and questions. Kentridge gives reality to the questionability of the world in his shadow art. In this way his art reminds us of the magic of Rilke's fire that transfigures dust into flame.
Few modern artists work magic like William Kentridge. His Norton Lectures are a great introduction to his art and the thinking behind his art. If you are not graduating this weekend, take the time to hear and look at what Kentridge says and makes.
You can view Kentridge's First Norton Lecture here. Consider it your visual weekend read.