Re: THE GIMBUTAS SCORE

автор SB Чт Ноя 05, 2015 3:05 pm

THE GIMBUTAS SCORE

PART 5/Final

Moving on to the final part of this narration, I cannot help mentioning the deep emotion in the grip of which I am in doing so. The reason for this my emotion is that it is here where I am going to tell about my greatest achievement in the complication of the basis (in the following, for greater certainty, I will also, depending on the context, call it "primary basis") considered in this article — the three-variation two-final-position one demonstrating the combination of two different blockings of a single man suspended (pos. No.3).

No.3

two-final-position basis No.2
(primary basis)

	[42] [43]
Block 1 man
Black to move

So, to the narration itself.

Having developed, on the primary basis, several supporting positions, through which I composed some successful zadachas, I began to think of creating new ones, by means of which I would be able to find new mechanisms and, as a result, compose new zadachas. And such supporting positions I did develop. Here is one of them.

No.19

supporting position No.9

	[42] [43]
4-10, 11, 7... [42/43]

The feature of this supporting position consists in the transporting of the black man 13 to square 4 (leading to its simultanious removing from the to-be-captured black-piece chain), through which, on the upper part of the position, there appears a specific group of black pieces enabling, in its turn, the appearance of new possibilities for mechanism transformations and, as a result, for new perspectives for composing new zadachas.
On this basis I composed the following zadacha:

No.20

[Вы должны быть зарегистрированы и подключены, чтобы видеть эту ссылку], 09.06.2009

	[36] [42] [43]
Block 1 man

Solution:

12 (28 A), 22, 11, 4-10, 11, 7 (12/15 B), 25-30, 28, 10, 9, 48, 49 [43];
B (30), 50, 16, 18, 33, 16:20, 48 [42];
A (6), 17, 28, 11, 27, 24-20, 6, 8, 8, 31, 16, 10, 26, 31, 10-41 [36].

Notes:

With 16→man, — Part.Cook: (28), 31… [35];

With 37→man, — Part.Cook: (28), 22, 22, 31... [16/45].

The difference of the supporting position in this zadacha from the above one (No.19) is minimal — on square 9, instead of man, is a king. But the result of this "minimal difference" was really great: the Gimbutas program found a very beautiful mechanism in the additional variation. Here is its position with the solution:

No.20-a

	[36]
Block 1 man

Solution:

24-20, 6, 8, 8, 31, 16, 10, 26, 31, 10-41 [36].

Wonderful!

The next supporting position is a result of the non-mechanism transformation of the one from the previous zadacha: on square 23, a black man is added.

No.21

supporting position No.10

	[42] [43]
Block 1 man

Here I used the method of the superfluous-piece addition (earlier described in part 3 (see the two-sentence text preceding the pos. No.12-c)), consisting in adding a piece (either white or black) that does not change the solution but creates new mechanism possibilities in the alternative variation. And really, the solution is here the same as in the previous supporting position, namely: 4-10, 11, 7... [42/43]. The following is an attempt of its complication:

No.22

[Вы должны быть зарегистрированы и подключены, чтобы видеть эту ссылку], 11.06.2009

	[42] [43] [45]
Block 1 man

Solution:

11 (17 A), 26-21, 21, 4-10, 11, 7 (12/15 B), 25-30, 28, 10, 9, 48, 49 [43];
B (30), 50, 16, 18, 33, 16:20, 48 [42];
A (21), 16, 26-21, 21, 25-14, 8, 48, 26, 7, 49, 20, 22, 35, 40, 50 [45].

Part.C.: A (21), 16, 4-10, 48, 15:7, 11, 17, 25-30, 25, 20, 44, 9 ... [35/45]

As we can see, this zadacha has a cook, and therefore this attempt is unsuccessful, for which reason I deleted it from the forum. But the mechanism found by the Gimbutas program is extremely impressive. Its position, in combination with the solution, is as follows:

No.22-a

	[45]
Block 1 man

Solution:

25-14, 8, 48, 26, 7, 49, 20, 22, 35, 40, 50 [45].

Unbelievable beauty! But, alas, it is only a dream ...

The next supporting position is based on a new way of transporting the black man 13 to square 4 and, also, contains new trajectories of the white pieces in the transitional mechanism of the additional variation in comparison to the ones of the earlier supporting positions.

No.23

supporting position No.11

	[42] [43]
9, 36, 7... [42/43]

For the complication of this supporting position I used a new branching mechanism, consisting in the differentiation of the capture of the black man 21 — either to square 1 or 3. At first, there was no result. Then I used an additional — non-mechanism-based transformational — device, namely, replaced the black man 37 by a king. And this time — a breakthrough! The program displayd a remarkably beautiful play in the additional variation. Here is this zadacha:

No.24

Draughts in Russia
(forum: Unreasonable Power of Art)
13.09.2012

Dedicated
to the memory of
Zinovy Tsirik

	[36] [42] [43]
Block 1 man

Solution:

8 (3 A), 8, 28-22, 9, 36, 7 (12/15 B), 25-30, 28, 10, 9, 48, 49 [43];

B (30), 50, 16, 18, 33, 16:20, 48 [42];

A (1), 26-17, 31, 18, 6, 4, 8, 19, 11, 46/19-37, 26, 31, 19/46-41 [36].

Notes:

1. With 12→man, — GC: 34-29, 23, 25-20, 26-17, 33, 7, 4, 8 (34 a), 30, 40, 35, 40, 50 [45];
a (40), 44… [45].

2. With 7→man, — Permutation of the 2nd and 3rd moves in VP.

After this success, I went on experimenting with the creation of new structures on the upper part of the position (containing the transform of the black man 9 to square 4) in search of new mechanisms and supporting positions. But all attempts were unsuccessful. And then I decided to return to the very first supporting position of this series (pos.No.19). This time, however, I used a new branching mechanism — at the same time simple and daring.

No.25

	[42] [43] [?]
Black to move

Solution:

(17 A), 11, 4-10, 11, 7... [42/43]

A (23) ... ???

Having developed this branching mechanism, I, after Black's move (23), launched the program. And imagine my surprise when I saw a precise final position — [36]. The reason for my surprise was that I gave up all belief for finding anything after rather a considerable number of unsuccessful attempts done before. Then, I launched the program again to see the very mechanism that lead to this final position. Well, really, I did it only to see the mechanism through which the final position [36] was achieved. And what did I see? An absolutely different final position — [45]! What the heck is going on? — thaught I. Well, if it isn't the fourth final position! But this is completely impossible! I repeated this process several times until I 1) believed that it were really 4 (!) final positions and 2) realized that it depended on different responses of Black, what could mean only one thing — discovery of a new variation mechanism! In other words: Zadacha in Zadacha! Incredible!

No.25-a

	[36] [45]
Black to move

Solution:

(32 A), 36-41, 11, 24-20, 6, 8, 8, 31, 11, 15-10, 26, 31, 10-41 [36];

A (17), 11, 25-14, 8, 48, 26, 7, 49, 20, 17, 35, 40, 50 [45].

Each variation — absolute beauty! And then interestingly, that separately — in different zadachas — these mechanisms have been already developed by me. The mechanism with the final position [36] — see pos. No.20-a:

No.20-a

	[36]
Block 1 man

Solution:

24-20, 6, 8, 8, 31, 16, 10, 26, 31, 10-41 [36].

And the mechanism with the final position [45] — see pos. No.22-a:

No.22-a

	[45]
Block 1 man

Solution:

25-14, 8, 48, 26, 7, 49, 20, 22, 35, 40, 50 [45].

This is what I wrote about the mechanism earlier: "Unbelievable beauty! But, alas, it is only a dream ..." And now — after so different mechanisms met in a single zadacha — the dream has come true!
That is what wonders the Gimbutas program can work!

And now — the zadacha itself:

SEMION BERENSTEIN

Draughts in Russia
(forum: Unreasonable Power of Art)
08.10.2012

Dedicated
to
Miljenko Lepšič

№26

[36]

[42]

[43]

[45]

Block 1 man

28

(17 A)

11 (17)

4-10 (4)

11 (24)

7

(12/15 B)

25-30 (15/12)
THE GIMBUTAS SCORE 14180579665

28 (23)

10 (4)

9 (13)

48 (30)

49

[43]

.....

B (30)

50

(12/15), 16 (15/12)
THE GIMBUTAS SCORE 14180623872

18 (23)

33 (29)

16:20 (24)
THE GIMBUTAS SCORE 14180587454

48

[42]

A (23)

28

(32 C)

36-41, 11 (17)
THE GIMBUTAS SCORE 14180598465

24-20, 6 (30)
THE GIMBUTAS SCORE 14180600271

8 (3)

8

(13) 31

(7), 11, 15-10, 26, 31,
10-41
THE GIMBUTAS SCORE 14180603285

[36]

.....

C (17)

11 (17)

25-14 (10)
THE GIMBUTAS SCORE 14180606502

8 (14)

48 (24)

26 (30)

7 (12)

49 (14)

20, 22, 35, 40, 50
THE GIMBUTAS SCORE 14180611278

[45]

THE STANDARD SOLUTION RECORD

28 (17 A), 11, 4-10, 11, 7 (12/15 B), 25-30, 28, 10, 9, 48, 49 [43]

B (30), 50, 16, 18, 33, 16:20, 48 [42]

A (23), 28 (32 C) 36-41, 11, 24-20, 6, 8, 8, 31, 11, 15-10, 26, 31, 10-41 [36]

C (17), 11, 25-14, 8, 48, 26, 7, 49, 20, 22, 35, 40, 50 [45]

At the beginning of this part, I defined this zadacha as my greatest achievement in the complication of the variation basis considered in this article. And now, in concluding this my narration, I, additionally and more precisely, would describe this composition as mysterious. Yes, mysterious, because it is a thrilling sense of mystery that I feel each time when looking at it. The mystery of the fathomless ocean of Art.

To sum up this article, I would like to say that the unbelievable alternative-and-mechanism transformations of my surprising variation basis were realized only thanks to the incredible Gimbutas program, the extraordinary "scores" of which — really the "music scores" — will always sound in my heart reminding me of a wonderful person — the man of great soul — Antanas Gimbutas.

Semion Berenstein
Germany. Halle

автор SB Вт Окт 27, 2015 7:24 am

THE GIMBUTAS SCORE

PART 4

The next supporting position is a result of the transformative development of the No.3 one (pos. No.7-a):

No.17

supporting position No.7

	[42] [43]
29-24, 30, 7...

The following two zadachas are composed on its basis.

No.17-a

"MiF", 30.08.2008

	[42] [43] [45]
Block 1 man

Solution:

I 2 (3 A), 24-8, 29-24, 30, 7 (12/15 B), 25-30, 28, 10, 9, 48, 49 [43];

B (30), 50, 16, 18, 33, 16:20, 48 [42];

A (5), II 24-20, 24, 25-30, 7, 20-9, 9-31, 31, 49, 15, 20, 22, 35, 40, 50 [45].

I 19-13?, 3 (23! I-a);
I-a (30?), 48, 49, 20, 28, 46:30, 30 {42}.

II 25-20? (19! I-A);
II-A (13?), 4, 30, 7, 47-36!, 36-31, 31, 49, 22, 6, 35, 40, 50 {45}.

NOTE:

With 44→man, – GC: 19-13...

The play is perfect, but alas, the form is far from being so.

No.17-b

composed: 09.2012

first publication

	[42] [43] [45]
Block 1 man

Solution:

14-9 (23 A), 27-36, 29-24, 30, 7... [42/43];

A (5), 19-9, 7, 24, 24, 48, 40, 49, 15, 20, 40, 35, 40, 50 [45]

The inacuracy of the 4th move from the end of the additional variation is, of course, a serious defect, but the elegance of the form of the zadacha and the originality of the 12(!)-half-move combination in the "A"-variation are really impressive.

By and large, however, both above zadachas, despite some impression produced by them, are regarded by me as artistic failure.

Before going to the final part of this research, I will show the zadacha which I earlier promised to present, namely, the one from the "International Tourney in memoriam Garry Dalidovich - 2007", first published in my article "A Theme with Transformations" (the website "TAVLEI").

No.18

International Tourney
in memoriam Garry Dalidovich
2007

1st place

	[15] [42] [43]
Block 1 man

Solution:

3-17 (27 А), 22, 13-18, 19, 22-17, 7 (12/15 В), 25-30, 28,
10, 9, 48, 49 [43]

В (30), 50, 16, 18, 33, 16:20, 48 [42]

А (12), 27, 16, 7, 32, 8, 17, 8, 19, 25-20, 25, 24, 25-20 [15]

The additional final position of this zadacha — [15] — is simply hard to believe. Its realization was achieved by means of the following, really audacious, supporting position:

No.18-a

supporting position No.8

	[42] [43]
19, 22-17, 11...

Here is what I wrote about this zadacha in the article "A Theme with Transformations":

There have been summed up the results of the "International Tourney in memoriam Garry Dalidovich - 2007". Both my zadachas were ranked prize-winning-places (I and III). The first place was awarded to the following zadacha:

	[15] [42] [43]
Block 1 man

Solution:

3-17 (27 А), 22, 13-18, 19, 22-17, 7 (12/15 В), 25-30, 28,
10, 9, 48, 49 [43]

В (30), 50, 16, 18, 33, 16:20, 48 [42]

А (12), 27, 16, 7, 32, 8, 17, 8, 19, 25-20, 25, 24, 25-20 [15]

Unfortunately (on account of the tourney's participation anonymity condition), I could not put this zadacha in my article "THE GIMBUTAS SCORE", published on the website «ТAVLEI» (18.03.2008). But it was greatly missed there. Firstly, there was a final-position combination demonstrated in it ([15+42+43]) which did not appear in any of the examples of the successful complication of my two-final-position basis containing two variations with the blocking of a suspended man. And secondly, this zadacha is of the most direct relevance to the topic of this article — the role of the Gimbutas Program in the zadacha-composition creation. The point is that initially the piece on square 22 was not man but king, and the solution of the variation with the final-position [15] was substantially different, namely:

А (12), 22-27, 46:16, 31, 18, 7, 19, 25-20, 32, 8, 25, 24, 25-20 [15].

But the Gimbutas program displayed an extremely original solution:

А (12), 31-27, 16, 7, 32, 8, 17, 8, 19, 25-20, 25, 24, 25-20 [15].

Accordingly, with the white man on square 22 being king, white happened to have two possibilities of the compositional finishing of the play: the author's and the computer-found one. In the above-mentioned article I gave two examples of compositional cooks, which, in the zadacha composition practice, occur rather rarely. First, it was in the zadacha with the final positions [25, 42, 43], where the cook not only did not destroy the zadacha (as is usually the case) but, on the contrary — through the method of cuccessive zadacha-twins (see №11-a,b,c) — was integrated into its play content. The second example is the first of the two successful zadachas with the final positions [36, 42, 43] (see pos. №15), where the compositional cook was cut off through replacing the black man 44 by king, while the author's intention was retained. But here — after replacing the white king 22 by man — cut off was not the cook but the author's solution of the additinal variation, while the surprising computer-found variation was retained. An extremely rare, almost unbelievable case in the zadacha composition! So the victory in this tourney is actually a joint one — both for me and Antanas Gimbutas, thanks to whose fundamental computer-analytical and purely human support, having left an indelible impression on me, such a wonder could only occur.

Semion Berenstein

автор SB Пн Окт 26, 2015 7:53 pm

THE GIMBUTAS SCORE

PART 3

But let us continue the search and research. The next position gives a new supporting mechanism interpretation.

No.12

	[42] [43] [45]
Block 1 man

Solution combined with the program analysis:

17-8 (12 А), 6-22, 8, 8, 23, 11, 7... [42, 43];

Part.C.-1: 2. 5, 33, 8, 8… [42];

Part.C.-2: 2. 25-14, 33, 13-8, 8, 36-9, 48… [42];

Part.C.-3: 2. 19-14, 33, 13-9, 48, 29, 7, 28, 7 [42];

Part.C.-4: 5. 46-41, 25-9, 48, 37, 5, 32, 32 [(46), 41].

А (17), 22, 18, 13-9, 16, 25-9, 7, 9-31, 31, 49, 15, 20, 22, 35, 40, 50 [45].

Part.C.-5: 2. 33, 25-14, 8, 8, 36-9… [42];

Part.C.-6: 2. 28, 14, 139, 48, 15-10, 49… [5].

Both cook groups can be eliminated by replacing the men 7 and 44 by kings:

No.12-a

	[42] [43] [45]
Block 1 man

Solution:

17-8 (12 А), 6-22, 8, 8, 23, 11, 7... [42, 43];

А (17), 22, 18, 13-9, 16, 25-9, 7, 9-31, 31, 49, 15, 20, 22, 35, 40, 50 [45].

The new supporting position (after the moves: 17-8 (12 А), 6-22, 8, 8) is as follows:

No.12-b

supporting position No.5

	[42] [43]
23, 11, 7...

Later, in the zadacha based on this supporting position (No.12-a), Antanas found a Part.C. (17-8 (12 А), 28... [5]). But since the supporting position (No.5) itself was not affected by the cook, I continued to research its transformational properties.

One of the mechanism development methods is to add a superfluous piece, which I just used here by adding the white man on the square 13. So the supporting position looks like this:

No.12-c

supporting position No.5-a

	[42] [43]
23, 11, 7...

Further research of this supporting position lead to its new transformation, on which basis, in turn, a new zadacha was composed. Here it is:

No.13

Website "Draughts in Russia"
(Forum "Unreasonable Power of Art")
17.09.2012

	[42] [43] [45]
Block 1 man

Solution:

17-28, 8 (17 VP1), 27-13 (12 A), 31-22, 11, 7 (12/15 B),
25-30, 28, 10, 9, 48, 49 [43]

B (30), 50, 16, 18, 33, 16:20, 48
[42]

A (26), 2, 7, 2-8, 13-9, 36-9, 8, 49, 31, 31, 15, 20,
22, 35, 40, 50 [45]

VP1 (12), 27-13, 31-22 … VP … [42/43]

NOTE:

With 10→man, — Part.C.:

B (26), 2, 7, 36-31, 13-9, 17, 49, 48, 49:46.

Another success!

The next supporting position is a further development of the No.5 one (pos. No.12-b).

No.14

supporting position No.6

	[42] [43]
28!, 11, 7...

At first sight, the supporting positions No.5 and 6 are identical. And really, after the first two half-moves of white and black, in both of them (1.23 19 — in No.5, and 1.28 13 — in No.6) their mechanisms are the same. But, at the same time, there is a difference in them, namely the one in the placement of a single black man: 28 — in No.5, and 33 — in No.6. And although the difference looks "tiny", its importance for the alternative-and-mechanism transformations is far from being so. This can be well seen in the following two examples.
Here is one of the attempts on its basis:

No.14-a

	[36] [42] [43]
Block 1 man

Solution combined with the program analysis:

8 (21 А), 29-23, 17, 28, 11, 7... [42, 43];

А (23), 18, 11, 2, 49, 28, 7, 17, 9, 33, 48, 26, 31, 10-41 [36];

Part.C.-1: 3. 25-9, 11, 29, 13, 27, 7, 32, 35, 40, 50 [45];

Part.C.-2: 4. 7, 9, 21, 13, 49, 24, 48… [42];

GC.-1: 25-20/25-14, 11, 8, 7, 9, 21, 13, 49… [42];

GC.-2: 29-23, 8, 17, 28, 11, 7... [42/43];

GC.-3: 5…;

GC.-4: 27… ;

GC.-5: 10-14…;

GC.-6: 36-41…

The zadacha can be easily corrected:

No.15

	[36] [42] [43]
Block 1 man

Solution:

2-8 (21 А), 29-23, 17, 28, 11, 7... [42, 43];

А (23), 18, 11, 2, 49, 28, 7, 17, 9, 33, 48, 26, 31, 10-41 [36].

   Now, everything fits perfectly!

   Particularly noteworthy in this zadacha is that a new additional final position was achieved, namely—[36].

   It's a pity, however, that it was not possible to repeat integration of the extremely beautiful GC: А (23), 18, 25-9, 11, 29, 13, 27, 7, 32, 35, 40, 50 [45], as it happened with the twins (No.11), but such a wonder occurs only once a lifetime.

And now another example of the use of the supporting position No.6 (pos. No.14):

No.16

«MiF», 01.09.2008

	[36] [42] [43]
Block 1 man

Solution:

6, 17-11, (7 A), 17, 17, 28, 11, 7 ... [42, 43];

A (12), 3, 46-41, 48, 36-41, 18-12, 3-9, 2, 12, 48:28, 19, 11, 48, 26, 31, 19-41 [36]

NOTE:

With 21→man, – GC: 24-20 ...

Real beauty! Real success!

Semion Berenstein

автор SB Сб Окт 24, 2015 9:36 pm

THE GIMBUTAS SCORE

PART 2

The following zadacha is a realization of a new approach to the development of supporting positions.

No.8

	[42] [43] [45]
Block 1 man

Solution:

2-8 (4 А), 8, 11, 7... [42/43];

А (22), 18, 18-7, 24-29, 9, 31, 31, 49, 15, 20, 11, 35, 40, 50 [45].

Here is its supporting position:

No.8-a

supporting position No.4

	[42] [43]
8, 11, 7...

And again — the "Gimbutas Score":

Part.C.: 2. 13, 7, 24-19, 49, 48 (10, 17), 22, 46-41, 37, 23 [(46),41];

GC-1: 46-41 (5 а), 24-20, 29, 20-29, 49, 48… [37/42];
а (23),29,24-20… [37/42];

GC -2: 24-20, 29, 36-41… [37/42];

GC -3: 24-29 (23 b), 18, 7, 49, 48… [45]; bv (5), 36-41, 7, 29… [37/42];

GC -4: 183, 19… [42];

GC -5: 25-14, 6, 28, 10… [45].

But since no cook affected the new supporting mechanism, I am making one more attempt on this basis.

No.9

	[42] [43] [45]
Block 1 man

Solution:

8 (4 А), 14-25, 8, 11, 7… [42/43];

А (22), 18, 23, 24-29, 36/9/4, 23-7, 31, 31, 49... [45].

   And this is an attempt which finally succeeded!

   Note:

   Although this zadacha is indicated by me here as being the first successful one on the theme considered in this article, such it is not, because the really first successful zadacha on this theme was the one with the final positions [15+42+43], composed by me earlier — for the "International Tourney in memoriam Garry Dalidovich - 2007", — about what I wrote in the article "A Theme with Transformations", the respective fragment from which I will give later.

So, let us move forward.

No.10

	[25] [42] [43]
Block 1 man

Solution:

21-12 (17 А), 22, 14-10, 10, 8, 11, 7... [42/43]

Here I used a more complicated variation of the previous (No.4 [pos. No.8-a]) supporting mechanism:

No.10-a

supporting position No.4-a

	[42] [43]
14-10, 10, 8, 11, 7...

   Let us continue the solution.

А (21), 41, 32!, 8, 7, 33!!!, 9, 25-30!, 30:35, 10, 20, 35-30 [25].

   The final position, as well as the final mechanism, turned out to be absolutely unexpected. But what will the program show? And it displayed an astonishing cook:

Part.C.: 3. 31, 9, 18, 8, 27, 7, 13, 49, 31, 8, 15, 20, 17, 35, 40, 50 [45].

   Not only did this cook end with an economical final position differing from the one of the additional variation but it also happend to be of unique originality and beauty. This cook can be aesily eliminated — by replacing the man 37 by king. Here is this zadacha in the corrected form:

No.10-b

initial zadacha: twin-(a)

	[25] [42] [43]
Block 1 man

Solution:

21-12 (17 А), 22, 14-10, 10, 8, 11, 7... [42/43];

А (21), 41, 32, 8, 7, 33, 9, 25-30, 30:35, 10, 20, 35-30 [25].

And here is another wonder: the amazingly beautiful cook play turned out to be able to be retained — by means of being integrated into the solution through successive twins.

No.10-c

twin-(b)

twin-(a)→ twin-(b): 37↔42

	[25] [45] {43}
Block 1 man

Solution:

21-12 (17 А), 22, I 31, 9, 18, 8, 27, 7, 13, 49, 31, 8, 15, 20, 17, 35, 40, 50 [45];

А (21), 41, 32, 8, 7, 33, 9, 25-30, 30:35, 10, 20, 35-30 [25];

I 14-10, 10, 8, 11, 7 (30! I-A);
I-A (12/15?), 25-30, 28, 10, 9, 48, 49 {43}.

No.10-d

twin-(c)

twin-(b)→ twin-(c): 42↔43

	[25] [45] {42}
Block 1 man

Solution:

21-12 (17 А), 22, I 31, 9, 18, 8, 27, 7, 13, 49, 31, 8, 15, 20, 17, 35, 40, 50 [45].

А (21), 41, 32, 8, 7, 33, 9, 25-30, 30:35, 10, 20, 35-30 [25].

I 14-10, 10, 8, 11, 7 (12/15! I-A).
I-A (30?), 50, 16, 18, 33, 16:20, 48 {42}.

In contrast to the initial twin ((a)), in the twins (b) and (c), the former cook became a variation of the actual play (Act.Pl.), whereas the two-variation basis, with two "suspended" final positions, acts as a cook, in the virtual play of which the basis variations, with the final positions [43] (twin-(b)) and [42] (twin-(c)), alternately act.

This fantastic 4(!!!)-final-position triptych — this unique twin series, created thanks to the miracle program, — I am dedicating to Antanas Gimbutas.

Note: Later, in these twins, some cooks were found, which I, by means of an extention and, also, by replacing (in twins (a) and (c)) black men on square 44 by kings, easily eliminated. Let me present these corrections:

No.11

ZADACHA-TWINS

Correction
of the zadacha-twins from the article THE GIMBUTAS SCORE published (in Russian) 18.03.2008 on the website "TAVLEI".
(First publication: website "MiF" (forum: "ZADACHA-ART GALLERY"), 13.12.2015)

Dedicated to

ANTANAS GIMBUTAS

(a)

(b)

((a)→(b): 37↔43)

(c)

((a)→(c): 37↔42, 44→man)

[25]

[42]

[43]

[25]

[45]

{42}

[25]

[45]

{43}

BLOCK 1 MAN

17- 11, 12 (17 А), 22,
14-10, 10, 8, 11, 7
(12/15 B), 25-30, 28,
10, 9, 48, 49
[43]

B (30), 50, 16, 18, 33,
16:20, 48
[42]

А (21), 41, 32, 8, 7, 33, 9,
25-30, 35, 10, 20, 35-30
[25]

Note:

With 37→man, — compositional Part.Cook:

17- 11, 12 (17), 22, 31, 9, 18, 8, 27, 7, 13, 49, 31, 8, 15, 20, 17, 35, 40, 50
[45]

17- 11, 12 (17 А), 22, I 31, 9, 18, 8, 27, 7, 13, 49, 31, 8, 15, 20, 17, 35, 40, 50
[45]

А (21), 41, 32, 8, 7, 33, 9, 25-30, 35, 10, 20, 35-30
[25]

I 14-10?, 10, 8, 11, 7 (12/15! I-A);
I-A (30?), 50, 16, 18, 33, 16:20, 48
{42}

17- 11, 12 (17 А), 22,I 31, 9, 18, 8, 27, 7, 13, 49, 31, 8, 15, 20, 17, 35, 40, 50
[45]

А (21), 41, 32, 8, 7, 33, 9, 25-30, 35, 10, 20, 35-30
[25]

I 14-10?, 10, 8, 11, 7 (30! I-A);
I-A (12/15?), 25-30, 28, 10, 9, 48, 49
{43}

Note:

With, in twins (a) and (b), 44→man, — Gen.K.:

17- 11, 12 (21), 41, 37, 12, 9 (13 а), 25-20, 23-18, 7, 28, 8, 15-10 (18), 29 (22), 23 ... [5]; а (30), 48, 23-18, 8, 39, 7, 15-10 ... [5].

Semion Berenstein

автор SB Пт Окт 23, 2015 3:33 pm

THE GIMBUTAS SCORE

And whoever must be a creator... verily,
he must first be an annihilator...
(Nietzsche, Thus Spoke Zarathustra)

There's no creation without destruction
(Igor Severyanin, Harmony of Contrasts)

PART 1

   It was a shock! In no time! Some of the finest examples of the zadacha-composition art! Destructed!!! It was unbelievable. I looked at it again and again. But, alas, all was true. The "iron", inexorable logic of the computer calculation knows no emotions. A passionless program, having replayed in its "hard" and "soft" depths innumerable variations, produced the result: there is neither ordinariness nor greatness but only correct or incorrect compositions — and nothing more.
   But the impression of shock was not the only emotional reaction that pierced me when I first looked through the new, the 9th, part (in contrast to the previous parts, this one dealt with zadachas) of the "Anthology of Errors" (2007) by Antanas Gimbutas. Not less powerful was the feeling of that really mystical horror which came from the very grandeur and depth of the incredibly complex analytical-variation panorama that unfolded itself as a dazzling spectacle before me: ever newer branchings, ever newer mechanisms, their ever newer linkings and metamorphoses. What audacity! What exactness! What coordination! And what magic beauty of that breathtaking non-human logic of destruction!
   Well, and what if to direct this enormous energy of destruction towards creation? Will it be able to do it? But, of course, a creative goal proportionate to this energetic power is also required for it. And such a goal I had. It was for years that I worked at the creation of a composition in which two main zadacha-genre directions — multy-variationness and final-position originality — could be combined, and in which two (!) of the final positions were "suspended" at that.
   Until now, this was achieved only by the brilliant draughts composer Yury Golikov (at the IV USSR Championship), and only in a single zadacha. But the basis complicated by him — the zadacha from the same USSR Championship by Ivan Strelchik with the final positions [40] and [43] — did not have the potential necessary for its further alternative-and-mechanism complication, whereas the basis discovered by me was much more perspective in this regard.
   Here is the zadacha on which basis I was going to start the achievement of the desired goal:

No.1

«Shashki», No.6, 1984

	[42] [43]
Block 1 man

13, 36, 8. The position gained after these moves of extension was exactly the nucleus from which the incredible creative energy contained in it had yet to be released.
Let me give you this remarkable basis-position:

No.2

two-final-position basis No.1

	[42] [43]
Black to move

Only eight white pieces — and three branchings at that!

(12/15 А), 25-30, 28, 10, 9, 48, 49 [43];

А (30), 50, 16, 18, 33, 16:20, 48 [42].

Here is another — more convenient for complication — form of this basis:

No.3

two-final-position basis No.2

	[42] [43]
Black to move

Before this find of mine, several zadachas with this final-position combination were already composed — mainly by Yury Golikov and me. But such force economy and such construction lightness were achieved for the first time. And it is exactly these peculiarities of this basis that predetermined its wonderful alternative-and-mechanism transformability.
Later, I managed to embody this idea in perfect form.

No.4

IV Ukraine Championship
1989

	[42] [43]
Block 1 man

30-24! (19:30 А), 24, 14! (20 B), 8, etc. — the basis No.2 (see pos. No.3), which ends with the final positions [42] and [43];

B (30), 50, 8, 16 8, etc. — [42];

A (39:30), 50, 24, 14, 8, 16 8, etc. — [42].

The first attempt of complication of this basis was made by me as early as 1987.

No.5

IV Ukraine Championship
1987

	[35] [42] [43] [45]
Block 1 man

3-8, 8 (4:13 А), 9, 15-29, 21, 34, etc. — the basis No.2 (see pos. No.3), which ends with the final positions [42] and [43];

А (2:13), 30:8, 8 (3/23), 18-9/8-19, 22-17 (30), 28 (23), 10, 13 [Partial Cook (Part.C.)], 20, 13-8, 33, 49, 35, 30, 49-40, 44, etc. — with the final positions [42] and [43];

Part.C.: 10, 13-8, 33, 49, 40-34, 49-40, 44, etc. — with non-economical final positions [42] and [43] (stated by N.Pustynnikov).

The supporting position used in this zadacha I will give separately.

No.5-a

supporting position No.1

	[42] [43]
15-29, 21, 34...

It was in 1999 that I came to this theme very close — after having exhaustively, as it then seemed to me, realized its alternative-and-mechanism-complication capabilities. Here are only two zadachas of the series:

No.6

composed: 23.04.1999

N.N.Pustynnikov 90 Jubilee Tourney
(2004)

	[42] [43] [45]
Block 1 man

12-7 (3/21:12 А), 18, 20-29, 8, 7, etc. — final positions [42] and [43];

А (1:12), 14-9, 49, 31, 7, 30-35, 28, 14, 8, 9, 7, 8, 15, 20, 8-24, 33, 40, 50 [45].

The following is its supporting position:

No.6-a

supporting position No.2

	[42] [43]
20-29, 8, 7...

Part.C.: 12-7 (3:12), 8, 8, 18, 28, 8, 16, 25, 33, (29 а), 16:20, 48 [42 — non-economical];

а (15), 48, 16:20, 30 [42 — economical] (stated by G.Dalidovich and A.Lyahovsky)

This partial cook (Part.C.) impressed me by its originality. As Garry Dalidovich let me know later, it was found by the Gimbutas Program. That is how I felt "on my own back" the "striking power" of this magic program.
And another example, which convincingly shows the powerful "potential energy" of this basis, on the one hand, and the enormous "kinetic energy" of the Gimbutas Program, on the other:

No.7

composed: 26.07.1999

	[15] [35] [42] [43] [45]
Block 1 man

Solution:

14-9 (40 А), 34, 6-11, 8 (12 В), 31-18, 20-29, 13-30, 7, etc. — [42 и 43].

В (26), 14, 11-28, 7, 32, 8, 30-19, 21, 8, 14, 24, 25-20 [15].

А (11), 17, 31-22, 8, 8, 22-9, 30-2, 28, 10, 7, 9, 33, 40, 44, etc. — [35 и 45].

Program analysis:

1) General cook (GC): 20-24,34,31-22,8,15-24,28,10,28,7,8,8,9,48,49 [43];

Main-variation partial cooks (Part.C.-s):

2) 3. 31-18, 30-19, 10, 49, 28, 10, 9, 10, 11, 31, 26, 31, 10-41 [36];

3) 3. 31-27, 8 (12 а), 20-9, 7, 28, 16, 48, 49 [43]; а (21), 16, 28, 7, 13-9, 48, 49 [43];

4) 3. 36-41, 8 (12 b), 2, 7, 28, 32, 47:33:8, 30-13, 21, 8, 14, 24, 25-20 [15];
b (26), 19, 8, 8, 32, 7, 13, 8, 14, 24, 25-20 [15];

5) 3. 20-24, 8 (26 c), 28 (12), 13-19, 7, 32, 8, 35, 14, 24, 25-20 [15];
с (12), 2, 7, 15-20, 31, 35, 48, 41 [42];

6) 3. 2, 8 (26) 28 (12) 37, 7, 6-28, 8, 30-19, 21, 8, 14, 24, 25-20 [15];

7) 5. 20-29, 31-18 (23 d), 16, 7, 36-18, 30, 50, 33, 20, 48 [42];
d (30), 50, 30, 7 (15), 16, 18, 33, 20, 48 [42];

8) 8. 16, 7, 30.50, 33, 20, 48 [42];

"B"-variation Part.C.:

9) 6. 14-37, 7, 28, 8, 30-19, 21, 8, 14, 24, 25-20 [15].

   Here it is — the "Gimbutas Score" in all its might! Here it is — its powerful symfony of the brilliant display of rationalism! And here it is — the kind of music one has to listen to for learning how to govern the elements of Creation!

   So, let us listen attentively.

   The following is the analysis of the cooks themselves. They can be divided into two principally different groups.

Group I — the cooks affecting the supporting mechanism: 7), 8);

Group II — the cooks not affecting the supporting mechanism:
   i. situational: 2), 9);
   ii. non-situational: 1), 3)–6).

   Of the utmost importance are, of course, the cooks of the group I.

   Here is the supporting position of this zadacha:

No.7-a

supporting position No.3

	[42] [43]
20-29, 13-30, 7...

Here, after 20-29, instead of 13-30, 7, etc., also, the cook numbered 8) can act: 16, 7, 30. 50, 33, 20, 48 [42]. The other cooks, therefore, are of no importance.
So, a new supporting mechanism should be developed. Well, it is easy to say. But, in pure psychology, — after such failure, when not only did the most grandiose concept perish but also everything that was created by me on the basis of this supporting mechanism besides it (also, the final positions [45], [36], [15], [35/45] were added) — it was not so easy. Moreover, I was charmed by the easiness of this supporting position, by its surprising alternative-and-mechanism mobility. But, alas, it was only an illusion, which had to be rejected once and for all, and so everything had to be started all over again.

Semion Berenstein

автор SB Пт Окт 23, 2015 3:31 pm

Dear colleagues, dear admirers of the art of the zadacha draughts composition, I would like to present to your attention the translation into English of my article THE GIMBUTAS SCORE. Originally, it was written in Russian and published (18.03.2008) on the website TAVLEI. This translation has been accomplished by me at the request of the International Grandmaster for draughts compositions Valdas Bieliauskas that he addressed to me in connection with the [Вы должны быть зарегистрированы и подключены, чтобы видеть эту ссылку], announced earlier this year.

Additionally, I would like to say that I did this work gladly and with great enthusiasm, because I always hold in my heart the memory of this man of great personality, who not only helped me in mastering the wonderful program — the Gimbutas Program — but, also, always gave me his both professional and moral support, which cannot be overestimated.

Semion Berenstein

PS: In comparison to the original, the English text contains some amendments and substantial additions.

* * *

Уважаемые коллеги, уважаемые почитатели искусства шашечной задачной композиции, предлагаю Вашему вниманию перевод на английский язык моей статьи ПАРТИТУРА ГИМБУТАСА. Первоначально она была написана на русском языке и опубликована (18.03.2008) на сайте ТАВЛЕИ. Этот перевод был осуществлен мной по просьбе Международного Гроссмейстера по шашечной композиции Валдаса Беляускаса, с которой он обратился ко мне в связи с объявленным ранее в этом году [Вы должны быть зарегистрированы и подключены, чтобы видеть эту ссылку].

Дополнительно хочу сказать, что я эту работу делал с большой радостью, т.к. я всегда храню в своем сердце память об этом редчайшей души человеке, который не только помог мне в освоении замечательной программы — Программы Гимбутаса, — но и всегда, наряду c чисто профессиональной, оказывал мне бесценную моральную поддержку.

Семён Беренштейн

PS: По сравнению с оригиналом, английский текст содержит в себе некоторые уточнения и исправления, а также существенные дополнения.