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A tragic miscalculation

Note: The following scene is purely imaginary.

Assuming néobureaucratique who wants the function is the ability, and not vice versa, was entrusted to a small boss is responsible for a vast redevelopment premises. A few dozen boxes of files, although solid, are stacked on each other, forming a cube of about a meter of ridge. It is eight o'clock in the morning, and the little boss advises other students that August institution has hired for the holidays, to reclassify all documents.

A productive bureaucrat has little chance of surviving in the wild. (Charles Robert Coulaincourt of Lamarck) Lamarck

Since we know that living organisms, whether plants, animals or bureaucracies, do change, and since Darwin we even know the mechanism of this evolution. The only difference between these three kingdoms of life is that in the bureaucracy, a system weighed down by excess entropy, evolution takes place in reverse: the struggle for survival meant that descends from the ape man and not vice versa. The hallmark of bureaucracies, it is indeed moving towards unproductive. First, a bureaucrat will never dare to hire a junior more competent than he. Hence the principle, duly confirmed by experience, that each generation of small bosses demonstrated productivity level less than or equal to that of the previous one. And if, by accident, the underling was smarter than the fife, the first would be quickly conditioned to match the lowest common denominator (PPCD) on pain of extinction. We may regret this inexorable decline, but it is impossible to avoid. This is what Darwin called natural selection .

A small boss who just met the big boss.

Before going further in our scientific approach, it is essential to define clearly unproductive. Since we are studying the tape, reasoning by contradiction seems indeed appropriate to identify properly the concept. Being productive is to produce more with fewer resources, or is producing as much with fewer resources. And unproductive, it's the opposite. There are two kinds of unproductive bureaucrats. On the one hand, there are those that cut their numerous breaks, and seize every opportunity to arrive late and leave early: this is how they manage to reduce their daily production (small boss type I ). On the other hand, there are the bureaucrats who are agitated at dawn and do not leave the yard at nightfall ( small boss type II). These people rely on their utter incompetence to achieve a systemic unproductive. Because they never produce anything, and that they harm rather the work of others, their productivity is the product divided by the work, can only be zero or negative, regardless of the number of hours that 'they devote to their responsibilities. When the numerator is zero, it is clear that the result of a fraction is also equal to zero, regardless of the value of the denominator.

The small boss that we met this morning belongs to this second category. It is early morning, stirred, it is reminiscent of the fable pigeon complaining about the air resistance, which slows its course. The small type II boss takes off virtual whirling into space. Five hours

rang. Young people are just maneuvering to classify the last case. The small bosses that must be deducted a day's work for storing a stack of boxes with the size of a cubic meter from the side.

Another small boss who just met the big boss.

The next day, the movers have left the premises last boxes to classify. This time, the cube is larger. It is about two meters instead of a ridge. While students still sleepy, begin their classification, the little boss, dashing, just the apostrophe. "What are you doing? It is useless. I have other tasks for you. We still have another week to finish everything before school starts. You will rank it next week, there will be plenty of time. "Students stop, without a word, and head in flock to the new workplace that comes from their being assigned. "As you wish, you're the little boss," they say in a whisper.

the evening, I met a student on the terrace of a cafe, he will not leave until very late. After all, it's summer. Throughout the conversation, he tells me his doubts about the task he will perform next week. "We have arranged the first cube of documents in one day. The boss thinks it will take two days to arrange the second cube, which is twice as big. We will do that Thursday and Friday. But me, I fear it is too tight. I do not know why, but I think it will take at least three days or four to do everything. "Beautiful intuition, but I would go even further:" According to me, "I'm out, it will take eight days, and you'll never finish on time unless you get to work tomorrow morning. Your cube is not twice as big, it is eight times bigger. "

Now we need one or two words of a certain Reichelt, whose audacity was matched only by his ignorance of basic laws of geometry, and who died one day in 1912. If he had survived, he would have a small boss postmodern entirely appropriate.

Reichtel had built wings that made him resemble both a raven, a bat and a flying squirrel, and he counted with the aid of this machine, landing in the Champ de Mars, after have plunged since the Eiffel Tower. Legend has it that the bird man was victim of cardiac arrest during his flight, but what is certain is that he fell to the ground.

And the reason is obvious. Suppose Reichtel ten times larger than a flying squirrel. This means that its wings, which are measured in square like any surface, covering an area a hundred times larger than the wings of the flying squirrel. But it also means that Reichtel has a volume a thousand times greater than that of the flying squirrel, ten cubed, and it weighs a thousand times heavier than the latter. A surface of wings a hundred times larger to support a thousand times heavier body? How can we hope to defy the laws of gravity with such a disparity? Mr. Reichtel died of a miscalculation.

But small bosses never die from their mistakes. At worst, they remain small bosses. At best, they are promoted to the rank of average boss.

Thursday. It's two days before school starts. The Students begin the classification of cubic meters of edge of two and eight cubic meters in volume. Shortly before seventeen hours, the little boss shows up, all imbued with his conceit. But his smile suddenly winces when he sees the pile of boxes just begun. The little boss the poor little apostrophe workers. "We'll never finish on time! Tomorrow, you had better apply yourself a bit! "

But the next day, the work is not finished. Or the following Monday, or even a week later. According to the little boss is no longer the workers we had. The average boss and big boss (who, according to the law of evolution species, old small boss) abound in the same direction. We will only hire more these students, who shamelessly take advantage of the system.

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The Chinese character song

New question from another visitor ramou.net .

Question:

Is there a Chinese character meaning song ? Original drawing on what was it based?

What an interesting question! It is that character does exist (see below) and represents just a man trying to make two sounds "A" with the mouth. The right part of the original character (red background) is our man, standing on two legs, with open mouth in profile. The left side shows the two superimposed (add five other "A" and you will hear Gilda in Rigoletto). But before we get to the character song has had many adventures.

Is there a relationship between the drawing of the left and his "A", will say it? Yes and no. Drawing (reproduced below) represents the silhouette of an ax. However, this character is pronounced formerly "A".

In its first version, the character song was written just as the double "A" (picture below). But this character has the same pronunciation as meaning older brother (age in modern Chinese). It did not take long for the original character is kidnapped, so he started to describe as big-brother (that's the only sense that remains today).

It thus finds itself with a character designating two homophones. How to differentiate? This is where the most common process in the formation of Chinese characters, which is to add a key to the initial layout semantics. This is key, as we have already seen, the drawing of a man with his mouth open (see below). This leads to the character at the beginning of this post: something that decides and ge which comes from the mouth of a man.

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The word suicide in Chinese

A visitor ramou.net ask myself this question.

Question:

Let me once again to use your lights. I currently working on suicide Asians, but in online dictionaries, including the new China, there is no ideogram resulting suicide. In your opinion is this an oversight or the Chinese ideogram does not exist? In

is it the same in Japan?

Answer:

Most modern Chinese words composed of two characters in the same way as the French scientific words are often composed of two Greek or Latin roots. The word suicide is no exception: 自杀 (Zishe), literally killing ourselves (or sui- caedere ).

Ditto for Japan. Japanese words, in this case, are often from the Chinese, unless they themselves were created in Japan in early modern times, before being taken by the Chinese.

The Japanese word for suicide is 自杀 (Jisatsu), the same as Chinese. This may be a layer of the latin, created by the Japanese in the late nineteenth century.

Question: Could you tell me

decompose the characters: it is the right itself is left is a weapon that means killing? Japanese were the same except the 3rd right.

Answer:

自 (zi) means itself. This character represents the nose, front view. While a French, a Quebecer or a Gaul exclaim "that's me! "Pointing their index fingers on the chest, the Chinese or the Japanese show their nose (do the experiment!). According to a small house investigation, the nose is indeed the center of the face, which is itself the facade of consciousness. Also, when you talk to someone face to face, your nose is right in his line of sight, then he should squint to look at your chest. (Interpretation subject to change)

杀 (SHA) is the Chinese character (traditional) meaning kill. It has been manufactured, millennia ago, by adding two elements:

杀 represents an animal with long tails, whose pronunciation was the same as the word kill : it is the phonetic element.

殳 represents a hand (bottom) holding a club head stone or bronze (top) is the key semantics.

The combination of the two elements can be read as follows: a word that is pronounced like the animal in question and recalled that a hammer blow to the skull.

In ancient spelling, it is recognized more easily by hand [three fingers] (bottom right) topped with a kind of ax (upper right). The animal (left), we could not identify, appears to have a crest (top) and a beautiful tail divided into three parts (below). In the simplified modern character, it remains only the crest and tail.

Many modern Chinese characters were simplified in the abandonment of the key semantics. This is the case 杀 became 杀 in the 1960s. The strangest thing is that the remaining part is clearly think of two swords s'embrochent.

The traditional character is still used in Japanese (it is pronounced satsu, adapted from the ancient Chinese pronunciation).