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Karpov vs Kortschnoi in the movies: "The World Champion"

Istvan Csom (2 June 1940 - 28 July 2021)

Text and the City

David Smerdon introduces the Fighting Chess Index

In this opening Black opts for active piece play and is not afraid to fight for the initiative from an early stage. One of the many good features of this opening is that Black is often the side which controls the pace of the game. €29.90 Dealing with a pervasive issue  For decades, the problem regarding ‘grandmaster draws’ has been a frequent talking point among chess fans and organizers. Unlike other sports, chess allows for players to agree to a draw, be it explicitly or implicitly by entering a forced line that leads to a threefold repetition or quickly exchanging down into a completely equal endgame. Many workarounds have been proposed, but at the end of the day, chess fans have become aware of how fighting a player actually is i.e. how willing he or she is to step away from the safe routes that tend to lead to a peaceful outcome.

An Unwitting Monument | Lapham's Quarterly

Portrait of the Dying Edith Schiele, by Egon Schiele, 1918. Wikimedia Commons. Let’s begin with Egon Schiele’s elbows: the Austrian artist’s swollen left elbow bent over his head in a gesture of support, the right drawn across his face, almost directly under his nose. Here, in his 1910 painting Seated Male Nude (Self-Portrait), rendered in muddy browns and sickly yellows, Schiele’s limbs look withered, his joints too pronounced. His elbows frame his face, drawing attention to one arched brow and a glowing reddish eye (a feature made even more striking by the repetition of its color and shape in nipples, genitals, and navel). Elbows direct arms that appear severed; his left hand disappears behind unruly hair, and his right arm seems to disintegrate below the joint. He looks close to what the art critic Julius Meier-Graefe described six years prior as the New Vienna, works of art that showed figures who were “shockingly thin, weak of bone and precociously diseased.”