By Huang Y., Gao X., Zhang Z.

This paper provides a (10 + ε)-approximation set of rules to compute minimum-weight attached dominating set (MWCDS) in unit disk graph. MWCDS is to choose a vertex subset with minimal weight for a given unit disk graph, such that every vertex of the graph is contained during this subset or has a neighbor during this subset. in addition to, the subgraph caused via this vertex subset is attached. Our set of rules consists of 2 levels: the 1st section computes a dominating set, which has approximation ratio 6 + ε (ε is an arbitrary optimistic number), whereas the second one section connects the dominating units computed within the first part, which has approximation ratio four.

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Le Va had initially envisaged the work as a three-room installation, with each room in a different state of liquid saturation. In the “dry” room, the red iron oxide powder was to predominate, whereas in the “wet” room, only a scant dusting of powder would float amid a deluge of mineral oil. Due to constraints of space as well as of working conditions, Le Va scaled back the project to just one room. He selected the midvalue “damp” room—mineral oil and iron oxide in approximately equal quantity—in order to allude to the sense of dynamic continuum that the original concept was designed to capture.

11 While his sketches reveal similarly tumultuous plans, Omitted Section was a reserved, even meditative work, composed of finely sifted flour in a sharply delineated shape that was nestled into the room’s corner. But like his appearance in Documenta V, Le Va’s participation in Anti-Illusion was filled with challenges. While the precision of the shape’s contours and its orchestrated rela42 Can the Mystery Be Solved? tionship to its corner position echoed his Installation #2 at the Minneapolis Institute of Arts, Le Va was displeased with the way in which Omitted Section seemed to be swallowed by the other works in the show.

As Serra put it in 1972: “The significance of the work is in its effort, not in its intentions. ”36 Along with Morris, Serra was interested in a material and perceptual immediacy, a conception of an artwork as a pure interface for artistic actions, material properties, and perceptual phenomena. Le Va, on the other hand, actively resisted the linking of his work with Morris. ”37 While part of Le Va’s reticence likely derived from the mistaken attribution of the Artforum cover, the conceptual stakes of his notion of artwork as aftermath were considerably different.

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