I don't like to show my emotions at the board, not because they might give something away to an opponent, but because that's my style: I like to keep it to myself.

Only he, who penetrates into the depth of the game, can express his personality in it.

Every top player has his own style, just as every painter has his own personal signature.

I believe every chess player senses beauty, when he succeeds in creating situations, which contradict the expectations and the rules, and he succeeds in mastering this situation.

My way of playing is very different and Karpov plays very differently as well.

No - I'm quite calm inside during the game for most of the time - not 100%, but generally very calm.

In this respect I suppose I'm the total opposite of Garry. With his very emotive body language at the board he shows and displays all his emotions. I don't.

Now, two years have passed and the situation is completely different: no one wants to organise this match.

When I speak of the beauty of a game of chess, then naturally this is subjective. Beauty can be found in a very technical, mathematical game for example. That is the beauty of clarity.

Okay, when you start to fight for equality, like Anand did in 1995, you could end up losing game 10, like he did, without putting up any kind of fight.

For us chess players the language of artist is something natural.

You know, our ratings after this match will be very close - I think I can also become the world number one in the not too distant future. However, I'm sure that Garry will also have something to say about this!

At some point he seemed to lose all confidence trying to break down the Berlin Wall. He was still fighting as only Kasparov can, but I could see it in his eyes that he knew he wasn't going to win one of these games.

I feel that my relationship with Kasparov now is much the same as it had been before the match - good. As for his reaction, well it can't be nice to lose your title after so long, but he was very generous.

It made a big difference to my match stamina. I couldn't imagine I would have been so energetic during the match - it really gave me a welcomed extra boost!

The strength of the playing ability is much more important. Only if the strength of the opponent's playing ability is comparable, does the game develop.

I am convinced, the way one plays chess always reflects the player's personality. If something defines his character, then it will also define his way of playing.

Once he had selected the path he was going down he really had to stick with it in a 16 game match. He had to try and hit in the one direction but unfortunately for him - though fortunately for me! - he hit in the wrong direction.

I made a better decision in choosing my team. Sure, I had a bigger choice of players to choose from - but I couldn't have asked for a harder working group of players who did an incredible job.

The Berlin Defence suited my strategy for the match. I had a defensive strategy - Actually, I had in my pocket some other sharper stuff to fall back on - but first I wanted to try the defensive strategy with Black and it worked so well.

Chess is an infinitely complex game, which one can play in infinitely numerous and varied ways.

So basically it's very simple: to start with, if you want to win the match, you shouldn't be afraid of him. There are still many, many things to do, but above all this is the most important: Don't be scared of him!

I don't like to show my emotions at the board, not because they might give something away to an opponent, but because that's my style: I like to keep it to myself.

But with the Berlin, I was able to allow him to get near, but not quite near enough, and I knew where to draw the line with the fortresses I had set up.

Even if you play perfectly, a fault of your opponent's can destroy the entire beauty of the game.

For me art and chess are closely related, both are forms in which the self finds beauty and expression.

The development of beauty in chess never depends on you alone. No matter how much imagination and creativity you invest, you still do not create beauty. Your opponent must react at the same highest level.

An impatient person plays differently than a more patient person.

In chess one cannot control everything. Sometimes a game takes an unexpected turn, in which beauty begins to emerge. Both players are always instrumental in this.

With the Berlin I was able to set up a fortress that he could come near but not breach.

Chess is an infinitely complex game which one can play in infinitely numerous and varied ways.

And rather than hide that, I would rather put that out on the radio and let someone see the full range of emotions. If you're going to be strong on the radio, you got to let it all out, even the ugly stuff. And you can't apologize for it.

Obviously, in dealing with a relationship, sexuality has to be involved, and jealousy and emotions like that. And I don't know, I've always been intrigued by those emotions.

Maybe I spent more time dwelling on emotions than some people, and maybe that's why I ended up writing.

In the First World War, there was the sudden passion of nationalism, and the killing took place because of these emotions. But the Soviet case is different, because you had systematic murder, like the Holocaust.

So while it is true that I find really dark stuff funny sometimes, it's also true that as a writer of books I want to have the whole range of human emotions.

When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.

Emotions are the fuel to really move you along - that's the only way you can create music. If you don't feel any emotions, it's not going to happen.

Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved and blooded with emotions, all held together by the delicate, tough skin of words.

Most of the animated films I watched, the emotions are all prepackaged like canned music, the hand actions, the sighs.

I think actors always retain one foot in the cradle. We're switched on to our youth, to our childhood. We have to be because we're in the business of transferring emotions to other people.

Most critical writing is drivel and half of it is dishonest. It is a short cut to oblivion, anyway. Thinking in terms of ideas destroys the power to think in terms of emotions and sensations.

The name of Jesus, like a secret charm, awakened similar emotions in the hearts of all the converts, and called immediately into action every feeling of moral loveliness, and every desire of dutiful obedience, which constitute Christian purity.

Postmodernists believe that truth is myth, and myth, truth. This equation has its roots in pop psychology. The same people also believe that emotions are a form of reality. There used to be another name for this state of mind. It used to be called psychosis.

Exploiting people's emotions of fear, envy and anxiety is not hope, it's not change, it's partisanship. We don't need partisanship. We don't need demagoguery, we need solutions.

My weaknesses are my jumps. The reason is that although I land them in practice, when I actually compete or perform, I should let my body go and stabilize my mind better. Also, I need to work on not letting negative thoughts and emotions get to me on the ice.

The fact that biological, or "natural" rules might help in the creation of a computer generated work of art is interesting, but even a wonderful work of art made in this fashion isn't the same as a person, with all his or her experiences and emotions involved, making art.

The concept of reason itself appears as an artificial attempt to separate intellectual powers from the frustrations, emotions, and accidents which cause events; the concept of reason is viewed as facade to prevent change.

A work of art is one through which the consciousness of the artist is able to give its emotions to anyone who is prepared to receive them. There is no such thing as bad art.