Step 1: Count hidden faces (faces in contact).
Arrange the dice in three columns with heights \(3,2,1\).
Hidden faces come from: bottoms on the floor, vertical contacts in a column, and side contacts between columns.
\[ \begin{aligned} &\text{Bottom faces} = 3,\\ &\text{Vertical contacts in columns } (3\rightarrow2\rightarrow1) = 2+1=3 \text{ contacts } \Rightarrow 2\cdot 3=6 \text{ hidden faces},\\ &\text{Side contacts between columns } (2+1=3 \text{ contacts}) \Rightarrow 2\cdot 3=6 \text{ hidden faces}. \end{aligned} \] Total hidden faces \(= 3+6+6=15\).
Since \(6\) dice have \(6\times 6=36\) faces in all, visible faces \(=36-15=21\) (as stated).
Step 2: Maximization principle.
The sum on all six faces of a die is \(1+2+3+4+5+6=21\).
Hence (for each die) \(\text{visible sum} = 21 - \text{(sum on its hidden faces)}\).
So to maximize the visible total, minimize the sum on hidden faces, putting the smallest possible numbers on the faces in contact, respecting “opposites sum to \(7\)”.
Step 3: Choose the smallest numbers on hidden faces die-by-die.
Label columns left\(\to\)right with heights \(3,2,1\).
Hidden faces per die: \[ \begin{array}{l|c} \text{Die} & \text{Hidden faces (count)} \\ \hline \text{Left column: bottom (A)} & \text{bottom, top (opposites), right }(3) \\ \text{Left column: middle (B)} & \text{bottom, top (opposites), right }(3) \\ \text{Left column: top (C)} & \text{bottom }(1) \\ \text{Middle column: bottom (D)} & \text{bottom/top (opposites), left/right (opposites) }(4) \\ \text{Middle column: top (E)} & \text{bottom, left }(2) \\ \text{Right column: only (F)} & \text{bottom, left }(2) \end{array} \] - For each opposite pair hidden, the minimum sum is \(7\) (unavoidable).
Thus \(A\): \(7+\) one extra face, \(B\): \(7+\) one extra face, \(D\): \(7+7=14\).
- The remaining single hidden faces can take the smallest available numbers \(1,2,\ldots\).
Choose minimally: \[ \begin{aligned} &A:\ 7+1=8,\quad B:\ 7+1=8,\quad C:\ 1,\\ &D:\ 14,\quad E:\ 1+2=3,\quad F:\ 1+2=3. \end{aligned} \] Total minimum on hidden faces \(=8+8+1+14+3+3=37\).
Step 4: Compute the maximum visible sum.
All-face total \(=6\times 21=126\).
Maximum visible \(=126-37=89\).
\[ \boxed{89} \]
The following empirical relationship describes how the number of trees \( N(t) \) in a patch changes over time \( t \): \[ N(t) = -2t^2 + 12t + 24 \] where \( t = 0 \) is when the number of trees were first counted. Given this relationship, the maximum number of trees that occur in the patch is
From a very early age, I knew that when I grew up, I should be a writer. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound. I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
His subject-matter will be determined by the age he lives in — at least this is true in tumultuous, revolutionary ages like our own — but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job to discipline his temperament, but if he escapes from his early influences altogether, he will have killed his impulse to write. I think there are four great motives for writing, at any rate for writing prose. They are: (i) Sheer egoism: Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood; (ii) Aesthetic enthusiasm: Desire to share an experience which one feels is valuable and ought not to be missed (iii) Historical impulse: Desire to see things as they are, to find out true facts and store them up for the use of posterity (iv) Political purpose: Desire to push the world in a certain direction, to alter other people's idea of the kind of society that they should strive after.
[Extracted with edits from George Orwell's "Why I Write"]