Defective 3-Paintability of Planar Graphs

A $d$-defective $k$-painting game on a graph $G$ is played by two players: Lister and Painter. Initially, each vertex is uncolored and has $k$ tokens. In each round, Lister marks a chosen set $M$ of uncolored vertices and removes one token from each marked vertex. In response, Painter colors vertices in a subset $X$ of $M$ which induce a subgraph $G[X]$ of maximum degree at most $d$. Lister wins the game if at the end of some round there is an uncolored vertex that has no more tokens left. Otherwise, all vertices eventually get colored and Painter wins the game. We say that $G$ is $d$-defective $k$-paintable if Painter has a winning strategy in this game. In this paper we show that every planar graph is 3-defective 3-paintable and give a construction of a planar graph that is not 2-defective 3-paintable.Comment: 21 pages, 11 figure

On the path-avoidance vertex-coloring game

For any graph $F$ and any integer $r\geq 2$, the \emph{online vertex-Ramsey density of $F$ and $r$}, denoted $m^*(F,r)$, is a parameter defined via a deterministic two-player Ramsey-type game (Painter vs.\ Builder). This parameter was introduced in a recent paper \cite{mrs11}, where it was shown that the online vertex-Ramsey density determines the threshold of a similar probabilistic one-player game (Painter vs.\ the binomial random graph $G_{n,p}$). For a large class of graphs $F$, including cliques, cycles, complete bipartite graphs, hypercubes, wheels, and stars of arbitrary size, a simple greedy strategy is optimal for Painter and closed formulas for $m^*(F,r)$ are known. In this work we show that for the case where $F=P_\ell$ is a (long) path, the picture is very different. It is not hard to see that $m^*(P_\ell,r)= 1-1/k^*(P_\ell,r)$ for an appropriately defined integer $k^*(P_\ell,r)$, and that the greedy strategy gives a lower bound of $k^*(P_\ell,r)\geq \ell^r$. We construct and analyze Painter strategies that improve on this greedy lower bound by a factor polynomial in $\ell$, and we show that no superpolynomial improvement is possible

On-line Ramsey numbers

Consider the following game between two players, Builder and Painter. Builder draws edges one at a time and Painter colours them, in either red or blue, as each appears. Builder's aim is to force Painter to draw a monochromatic copy of a fixed graph G. The minimum number of edges which Builder must draw, regardless of Painter's strategy, in order to guarantee that this happens is known as the on-line Ramsey number \tilde{r}(G) of G. Our main result, relating to the conjecture that \tilde{r}(K_t) = o(\binom{r(t)}{2}), is that there exists a constant c > 1 such that \tilde{r}(K_t) \leq c^{-t} \binom{r(t)}{2} for infinitely many values of t. We also prove a more specific upper bound for this number, showing that there exists a constant c such that \tilde{r}(K_t) \leq t^{-c \frac{\log t}{\log \log t}} 4^t. Finally, we prove a new upper bound for the on-line Ramsey number of the complete bipartite graph K_{t,t}.Comment: 11 page

Francis Bacon and the practice of painting

This article addresses the question about why painting continues to be relevant in our contemporary cultural climate. A key reason can be located in the means by which the material of paint can be utilized, manipulated, and perceived through entire sensory and bodily mechanisms. As the practice of Francis Bacon (1909–1992) demonstrates, it is within the elusive behaviour and handling of pigment that the full transformative potential of painting can be released. In fact it can activate a whole field of sensory responses on the part of painter and viewer. The painter can manipulate the material to achieve a variety of effects but needs also to acknowledge how the material can potentially assume an independent life of its own, an almost unruly character. The strength and enduring quality of painting which links modern to postmodern practice, lies in its potential to utilise the painter's tacit skills as well as releasing the inherent and ‘unruly’ qualities of the pigment. The potential of painting practice lies within the orbit of the individual painter who can recognize implicitly how to let the paint ‘work’ according to the needs of the image being constructed