本片描述两位成就非凡且扬名国际的现任中央研究院院士——张圣容与金芳容追逐数学梦的故事，彼此激励且快乐成长的记忆，并陈述了学数学没有性别限制，女性特有的细腻与安静亦为一种优势。

本片描述了以阿U为主的一群小朋友，他们对于自然和社会生活充满好奇，并进行积极的探索，通过老师和家长的解答，了解了很多有趣的科学小知识。

本片是从《阿优》动画系列延伸出来的系列，改编自科学普及出版社出版的《小学生科学素质读本》，把科普知识用的幽默诙谐的故事情节展现给观众，让孩子学会像科学家一样思考。

Ever since he was at school, actor and comedian Alan Davies has hated maths. And like many people, he is not much good at it either. But Alan has always had a sneaking suspicion that he was missing out. 　　So, with the help of top mathematician Professor Marcus du Sautoy, Alan is going to embark on a maths odyssey. Together they visit the fourth dimension, cross the universe and explore the concept of infinity. Along the way, Alan does battle with some of the toughest maths questions of our age. 　　But did his abilities peak 25 years ago when he got his grade C O-Level? Or will Alan be able to master the most complex maths concept there is?

10分钟。莫利斯的电影是唯一已知的著名美国抽象派画家创作有目的的抽象电影作品。就如他的绘画，克里斯的电影混合了严格正式的实验和幽默，短暂出现的有留胡子的莫利斯和红发的妻子-苏西·弗莱林，哈森，一个黑发朋友，三个“党人评论”的同事。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html