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1001 Math difficulties offers workouts protecting addition and subtraction via fractions, decimals, and probabilities, and directly to easy geometry and ordinary algebra.

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This one had nothing [representational]. It was completely, so to speak, abstract. It had no symbolic references. It was a surface that had been utterly painted. . [W]hen I left the Willard Gallery exhibition, I was standing on a corner on Madison Avenue waiting for a bus and I happened to look at the pavement, and I noticed that the experience of looking at the pavement was the same as the experience of looking at the Tobey. Exactly the same. 11 11. Richard Kostelanetz, Conversing with Cage, 2nd Edition (New York: Routledge, 2003), pp.

We can sense the filmmaker’s impatience and anxiety lest the hand-wound camera run down before the drop falls. Offscreen she shakes the branch with too much force to pass for the level of wind intensity apparent in the rest of the film. Then, again and again, she shakes the water from the trees whose leaves are before her lens. The culmination of this sequence is a bit of sequential montage: A drop gathers and falls (again impelled by her manipulation); a subsequent close-up records only the gravitational fall of a single droplet, fictively the same, through the frame.

The sudden appearance of gutter drains and manhole covers give a strong graphic punctuation to the firm, even pace. Yet the Menken magic is utterly lacking. Missing are the minute shifts of attention in response to what the camera sees, the unpredictable changes of rhythm and even of subject, the uninhibited confidence of bodily motion; in short, the signs of a sensibility looking through the camera have been repressed by Maas’s and Hawkins’s smooth tracking, which owes more to the opening hopscotch scene of Sidney Peterson’s The Lead Shoes than anything in Menken’s work.

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