Some may think that the talent of unraveling what lurks in their opponents mind is the secret to playing poker well. It might also be considered that If one could attend a class or seminar on the science of the unconscious mind while indulging in games of chance that it would be a great help to their game. No way. If one was able to be taught how to read another's mind and discover their various neuroses in the process, it would still be no guarantee of a win.
When thinking of poker, one would think of it as a game of strategy rather than one of psychoanalysis. Strategy is only one of the components of winning play, however. Getting into your opponent's head is the essence of smart play. This does not mean that you must suffer while he goes over the details of his life story ad nauseum.
The best of players, as the best of artists, never required a manual on the subject of their professions. They proceed intuitively, by means of naturally sharp observation which they practiced and developed individually in the course of the years.
You have probably noticed a dearth of technical manuals dealing with the psychology of poker. That brings us right to the crux of this issue. Whatever tips and advice may be out there for you to read up on, you cannot put them to practical use without your own sense of intuition that is achieved by putting your own thought processes to work beyond the grasp of your opponent.
If the game could be played based on principles, it would be boiled down to predictions, simple or complex depending upon the variables by use of a computer program. Actually, this is the approach of amateurs and the not-so-gifted players - the ones that mostly lose.
Such schematics are disdained by the professional player, who makes their own observations regarding others methods of play as well as their own. Using their well-developed intuition, they take those observations and mix them into principles according to their own thought processes. This results in a strategy known only to themselves. The most talented players use these complex (or deceptively simple) secret strategies to make them less vulnerable than their opponents.
This may be another reason why artists and players (two creatures in the same family) do not easily and never fully reveal their trade secrets to the general public: at best they allow some general theoretical discussion of their work or a few relatively trivial technical tips. Which may be very nice of them, but the problem is that they did not achieve their status by reading somebody else's tips.
It would seem that the most vital element in becoming a master artist in any genre is commitment to study and practice to develop one's own observational skills and imagination by engaging in the activity in which you want to become great. In this way you will be independent in your thoughts and actions and master the ability to do your thing in a way that is uniquely your own. Only you are privy to the minute details of your "thing."
Use this individually developed strategy to get under the skin of bluffers. You can only do this by letting loose of your robust intuition to which only you have access.
It takes not only hard work, persistence, and erudition, but also the courage and independence to use your imagination in ways which might seem ridiculous but may prove innovative, individual curiosity and a spirit of discovery which keeps you ahead of the rest.
One could now proceed to elaborate on the processes of intuition, or suggest where to start or what not to neglect, but even that would be too much. Everyone is blessed with intuition; not everyone has the drive to aggressively hone and use it. If the results of your unique intuition are to be unique, you had better start on your own.
What I have written about here calls for a lifetime commitment. Nobody who was ever considered a master at his craft, whatever that may be, was given that title. They worked long and hard and on their own and they earned it.
When thinking of poker, one would think of it as a game of strategy rather than one of psychoanalysis. Strategy is only one of the components of winning play, however. Getting into your opponent's head is the essence of smart play. This does not mean that you must suffer while he goes over the details of his life story ad nauseum.
The best of players, as the best of artists, never required a manual on the subject of their professions. They proceed intuitively, by means of naturally sharp observation which they practiced and developed individually in the course of the years.
You have probably noticed a dearth of technical manuals dealing with the psychology of poker. That brings us right to the crux of this issue. Whatever tips and advice may be out there for you to read up on, you cannot put them to practical use without your own sense of intuition that is achieved by putting your own thought processes to work beyond the grasp of your opponent.
If the game could be played based on principles, it would be boiled down to predictions, simple or complex depending upon the variables by use of a computer program. Actually, this is the approach of amateurs and the not-so-gifted players - the ones that mostly lose.
Such schematics are disdained by the professional player, who makes their own observations regarding others methods of play as well as their own. Using their well-developed intuition, they take those observations and mix them into principles according to their own thought processes. This results in a strategy known only to themselves. The most talented players use these complex (or deceptively simple) secret strategies to make them less vulnerable than their opponents.
This may be another reason why artists and players (two creatures in the same family) do not easily and never fully reveal their trade secrets to the general public: at best they allow some general theoretical discussion of their work or a few relatively trivial technical tips. Which may be very nice of them, but the problem is that they did not achieve their status by reading somebody else's tips.
It would seem that the most vital element in becoming a master artist in any genre is commitment to study and practice to develop one's own observational skills and imagination by engaging in the activity in which you want to become great. In this way you will be independent in your thoughts and actions and master the ability to do your thing in a way that is uniquely your own. Only you are privy to the minute details of your "thing."
Use this individually developed strategy to get under the skin of bluffers. You can only do this by letting loose of your robust intuition to which only you have access.
It takes not only hard work, persistence, and erudition, but also the courage and independence to use your imagination in ways which might seem ridiculous but may prove innovative, individual curiosity and a spirit of discovery which keeps you ahead of the rest.
One could now proceed to elaborate on the processes of intuition, or suggest where to start or what not to neglect, but even that would be too much. Everyone is blessed with intuition; not everyone has the drive to aggressively hone and use it. If the results of your unique intuition are to be unique, you had better start on your own.
What I have written about here calls for a lifetime commitment. Nobody who was ever considered a master at his craft, whatever that may be, was given that title. They worked long and hard and on their own and they earned it.
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