American Go E-Journal

by Andrew Feenberg

This is the story of two go matches. In March, Google’s artificial intelligence computer AlphaGo defeated world champion Lee Sedol 9P 4-1. This is considered a great triumph for artificial intelligence. Does it mean that AI is almost human? Or that humans have simply become machine-like? Another historic match in 1938 provides some useful perspective.

Games are ambiguous phenomena. On the one hand they are models of rationality. There are unambiguous rules, actions, and measures of success and failure. On the other hand games are social events, collaborative performances governed by meta-rules such as sportsmanship that contextualize the play. The players need each other in order to perform. They produce an object together through their combined efforts. The effect of this activity is to contribute to their own personal development as human beings. And we often qualify the product of their activity in aesthetic terms: a beautiful play in football for example.

Rationality as found in games is also a general attribute of the culture of modern societies. Modern societies contain many game like systems. Individuals act as players in these systems in order to get a raise, get a job, learn new skills, take a plane, avoid paying taxes, and so on. Thus games can appear as models of modernity and what happens with games can tell us something about what happens in modern societies in general.

This is why the Nobel prize-winning Japanese author Kawabata chose the game of go for one of his most famous novels. “The Master of Go” is based on a real match that Kawabata witnessed as a newspaperman in 1938. This was the last match of the old master Shusai and his challenger, called Otake in the novel. Each player represents an era. The old master represents traditional play, while his challenger represents modernized play, influenced by Western ideas. Traditional play is all about the human side of the game, deference, the notion of way or vocation as practiced in Japanese martial arts for example, and beauty, the beauty of the moves and the board as the game evolves. Modernity is about winning. Just that.

The novel recounts the game’s play as it reveals the characters and the historical background. The whole intrigue centers on a single move in the game, move 121. The reason this move is so important has to do with Western innovations introduced by the challenger and favored by the newspapers. In the old days the master would have regulated the flow of play, deciding when to start and end each day’s session. But the 1938 match was organized around time limits and sealed moves at the end of the day as in Western chess. Of course players are equal in the game play, but the traditional way of playing recognized the differences between the players in the world outside the game. Now the equalization internal to the game was being extended outward into the world of play. One can see how this might appeal to the challenger and to the newspapers, both of whom would prefer not to be subject to the whims of the old master. To the old master it seemed a lack of due deference.

As it happened, the challenger began to run out of time toward the middle of the game. To gain time to reflect on a difficult position in the center of the board he sealed a final move off in a corner. This trivial move required the master to respond away from the central struggle. The manipulation implied in this use of the time limits and sealed moves upset the master. He was offended and said that the beauty of the game was lost. As a result he made several mistakes and the challenger won. Modernity triumphs over tradition. But we are left with the clear impression that the old master was the better player of the two.

Kawabata wrote after World War II that he would only write elegies, elegies for the lost beauty of the old Japan. The novel is obviously a critique of modernization. But note that it is not about the contrast between rational modernity and the irrational tradition. There is nothing strategically irrational or inferior about the old master’s play. So the contrast of modernization and tradition is not about strategic rationality vs. irrational sentimentality. It is about the place of strategic rationality in the real world. Tradition is a set of meta-rules that contextualize and organize the rationalized sectors of social life such as games. Modernity extends the rationality of games into the real world. This has counterintuitive consequences. For example, in the case of the actual match the inferior player wins through manipulating the new meta-rules and upsetting his adversary rather than through superior play.

Here is the how Kawabata described his elegy for traditional go: “It may be said that the master was plagued in his last match by modern rationalism, to which fussy rules were everything, from which all the grace and elegance of go as art had disappeared, which quite dispensed with respect for elders and attached no importance to mutual respect as human beings. From the way of go the beauty of Japan and the Orient had fled.”

The losers of the two matches were Shusai and Lee Sedol. The winners were Otaké and AlphaGo. What do they have in common? If we understand games in all their ambiguity as both strategic exercises, rational systems, and also ways of self development and aesthetic achievement, then I would suggest that their reduction to mere winning is a disaster. The matches reveal the limits of modernity as a way of understanding and organizing human life. In reorganizing the social world around strategic rationality, modernity prepares the triumph of the machine.

This essay is based on a talk presented at the McLuhan Centre at the University of Toronto in early March. It has been condensed and updated. Feenberg has written extensively about Kawabata’s novel previously in his book Alternative Modernity.