. . . . . . . . . . "Chess aesthetics or beauty in chess is the aesthetic appreciation of chess games and problems, by both players and composers. This is evident, for example, in brilliancy prizes awarded to some games in certain tournaments and also in the world of chess composition. There are many books published featuring chess problems or puzzles that emphasize its aesthetic aspect. One of the earliest is from the 9th century AD. Aesthetics in chess can be both a source of pleasure for humans and also instruction, as compositions or games featuring it typically illustrate original ideas or new instantiations of old ones. A good chess problem composer, however, is not necessarily a good player. Factors about a game or move sequence (also referred to as a combination) that might cause it to be regarded as 'brilliant' by most players include, among other things: expediency, disguise, sacrifice, correctness, preparation, paradox, unity and originality. \n* Expediency refers to a move's effectiveness in achieving something tangible, like checkmate or a decisive material gain. \n* Disguise occurs when a move played (usually the key move) does not expose the solution immediately. \n* Sacrifice refers to the exchange of a more powerful piece for a weaker one, but can also mean the exchange of other less tangible advantages, like mobility. \n* Correctness simply means the solution should work against any defense. (A plus but not always possible in real games.) \n* Preparation means that the aesthetic perceived\u2014say, in a particular tactical combination\u2014was achieved in great part due to the strategic play preceding it. \n* Paradox refers to the range of things that violate 'good practice' in chess, for example, the deliberate exposure of one's king. \n* Unity refers to the cooperation between pieces toward the attainment of a specific goal (e.g. checkmate, winning material, controlling more space). \n* Originality means something the observer has not seen before, and must therefore rely heavily on personal experience. Composition conventions such as not having any checks or captures in the first (i.e. key) move, and the use of variations to illustrate a particular theme (e.g. zugzwang, pin), also play a role in the aesthetics of the game. Conceptually, a 'common ground' of aesthetics between the domains of real (e.g. tournament) games and compositions can be established. These are beauty characteristics that apply approximately equally to both domains; examples include heuristic violations, economy and material sacrifice. This common ground is useful in computational models of aesthetics in the game because it helps in experiments comparing the beauty of compositions (on average, considered more beautiful) against the beauty of real games (on average, considered less beautiful). Some factors that pertain solely to real games (e.g. pressure under time control) or compositions (e.g. avoidance of castling moves) may be conflated with aesthetics in the game\u2014and perhaps to some degree this is justifiable; however, they would lie outside the common ground described above."@en . . . . . . "Chess aesthetics or beauty in chess is the aesthetic appreciation of chess games and problems, by both players and composers. This is evident, for example, in brilliancy prizes awarded to some games in certain tournaments and also in the world of chess composition. There are many books published featuring chess problems or puzzles that emphasize its aesthetic aspect. One of the earliest is from the 9th century AD. Aesthetics in chess can be both a source of pleasure for humans and also instruction, as compositions or games featuring it typically illustrate original ideas or new instantiations of old ones. A good chess problem composer, however, is not necessarily a good player."@en . . "28887813"^^ . . . . 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"Chess aesthetics"@en . "L'esth\u00E9tique des \u00E9checs, ou la beaut\u00E9 aux \u00E9checs est g\u00E9n\u00E9ralement appr\u00E9ci\u00E9 par les joueurs et les probl\u00E9mistes. Cela est \u00E9vident, par exemple, les brillancy prizes sont attribu\u00E9s \u00E0 certaines parties lors de certains tournois et aussi dans le monde des probl\u00E8mes d'\u00E9checs. Il existe beaucoup de livres publi\u00E9s comportant des probl\u00E8mes d'\u00E9checs ou d'\u00E9nigmes qui soulignent son aspect esth\u00E9tique. L'un des premiers date du IX\u00E8mesi\u00E8cle apr\u00E8s J.C. L'esth\u00E9tique des \u00E9checs peut \u00E0 la fois \u00EAtre une source de plaisir pour l'homme mais aussi d'instruction, sous forme de probl\u00E8mes ou de parties mettant en sc\u00E8ne des id\u00E9es nouvelles ou anciennes. Un bon probl\u00E9miste, cependant, n'est pas n\u00E9cessairement un bon joueur aux \u00E9checs."@fr . . "L'esth\u00E9tique des \u00E9checs, ou la beaut\u00E9 aux \u00E9checs est g\u00E9n\u00E9ralement appr\u00E9ci\u00E9 par les joueurs et les probl\u00E9mistes. Cela est \u00E9vident, par exemple, les brillancy prizes sont attribu\u00E9s \u00E0 certaines parties lors de certains tournois et aussi dans le monde des probl\u00E8mes d'\u00E9checs. Il existe beaucoup de livres publi\u00E9s comportant des probl\u00E8mes d'\u00E9checs ou d'\u00E9nigmes qui soulignent son aspect esth\u00E9tique. L'un des premiers date du IX\u00E8mesi\u00E8cle apr\u00E8s J.C. L'esth\u00E9tique des \u00E9checs peut \u00E0 la fois \u00EAtre une source de plaisir pour l'homme mais aussi d'instruction, sous forme de probl\u00E8mes ou de parties mettant en sc\u00E8ne des id\u00E9es nouvelles ou anciennes. Un bon probl\u00E9miste, cependant, n'est pas n\u00E9cessairement un bon joueur aux \u00E9checs."@fr . . . 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\u03BA\u03B1\u03BB\u03BB\u03B9\u03C4\u03B5\u03C7\u03BD\u03B9\u03BA\u03CC."@el . . . . . . . . . "1124355321"^^ . . . "\u039A\u03B1\u03BB\u03BB\u03B9\u03C4\u03B5\u03C7\u03BD\u03B9\u03BA\u03CC \u03C3\u03BA\u03AC\u03BA\u03B9"@el . . . . "Esth\u00E9tique des \u00E9checs"@fr . . "5231"^^ . . . .