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- Hayden, Brian, et al.
(author)
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The HST See Change Program. I. Survey Design, Pipeline, and Supernova Discoveries
- 2021
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In: Astrophysical Journal. - : American Astronomical Society. - 0004-637X .- 1538-4357. ; 912:2
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Journal article (peer-reviewed)abstract
- The See Change survey was designed to make z > 1 cosmological measurements by efficiently discovering high-redshift Type Ia supernovae (SNe Ia) and improving cluster mass measurements through weak lensing. This survey observed twelve galaxy clusters with the Hubble Space Telescope (HST) spanning the redshift range z = 1.13-1.75, discovering 57 likely transients and 27 likely SNe Ia at z similar to 0.8-2.3. As in similar previous surveys, this proved to be a highly efficient use of HST for supernova observations; the See Change survey additionally tested the feasibility of maintaining, or further increasing, the efficiency at yet higher redshifts, where we have less detailed information on the expected cluster masses and star formation rates. We find that the resulting number of SNe Ia per orbit is a factor of similar to 8 higher than for a field search, and 45% of our orbits contained an active SN Ia within 22 rest-frame days of peak, with one of the clusters by itself yielding 6 of the SNe Ia. We present the survey design, pipeline, and supernova discoveries. Novel features include fully blinded supernova searches, the first random forest candidate classifier for undersampled IR data (with a 50% detection threshold within 0.05 mag of human searchers), real-time forward-modeling photometry of candidates, and semi-automated photometric classifications and follow-up forecasts. We also describe the spectroscopic follow-up, instrumental in measuring host galaxy redshifts. The cosmology analysis of our sample will be presented in a companion paper.
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| 2. |
- Hayden, Hans, 1965-
(author)
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Den omplacerade koden : Om Edgar Degas Interiör
- 2022
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In: Semiotik. - Stockholm : Stockholm University Press. - 9789176351871 ; , s. 107-128
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Book chapter (peer-reviewed)abstract
- Följande text utgör en analys av Edgar Degas målning Interiör från 1868–69. Det är en av konsthistoriens gåtfulla bilder, vars motiv har varit och förblivit omdiskuterat. Bilden skildrar någonting sorgligt eller hotfullt i vad som verkar vara en hemmiljö. Olika tolkningsförsök har gjorts där motivet sägs ha utgått från litterära källor eller visuella förlagor. Sådana tolkningar missar dock en viktig aspekt: motivets uppenbara ambivalens. Trots sitt realistiska bildspråk gäckar bilden varje försök till uttolkning och lockar betraktaren att försöka komma fram till en lösning genom ständigt nya omtolkningar. Det går att iaktta olika spår i bilden – föremål, förhållandet mellan de båda gestalterna, ljuset, perspektivet – som förmedlar och förstärker detta intryck. Men den fråga som lyfts fram i denna analys är inte enbart vad bilden betyder utan även hur den betyder. För att försöka förstå detta intrikata spel mellan bild och betraktare, utgår analysen från den kommunikativa situationen där tecknet kommit i bruk och de omständigheter som ger tecknet dess innebörd(er), samt den kod som reglerar tecknets möjliga betydelser. Degas målning tycks laborera med just detta, med konventioner och förväntningar, för att skapa ett visuellt drama där betraktaren aktiva roll blir en central del av verkets betydelse.
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| 3. |
- Hodén, Tintin, 1987-
(author)
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Motsättningarnas museum : Samproduktionen av museiideal i den offentliga debatten om Moderna museet 1972–2013
- 2020
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Doctoral thesis (other academic/artistic)abstract
- This dissertation examines how the art museum’s societal function has been constructed in the Swedish public debate. The dissertation shows that the cultural section of the daily press is, and has been, a forum where actors exchange opinions about art museums, and where notions on the art museums’ functions are co-produced. The specific aim of the dissertation is to examine how museum ideals have been co-produced in the public debate on Moderna Museet (the Swedish Museum of Modern Art). The term museum ideal refers to exemplary notions about the function of the art museum, and also to ideas on how the art museum should fulfil this conceptualised function. The co-production of museum ideals is analysed in four case studies, which span from 1972 to 2013. The case studies sequentially examine the debates regarding Moderna Museet’s acquisition of the artworks in the New York Collection, the debate on the museum’s new building, the debate about the museum’s sponsorship collaboration with the multinational conglomerate corporation Sony, as well as the debates regarding the project The Second Museums of Our Wishes and the exhibition Hilma af Klint – A Pioneer of Abstraction. The dissertation concludes that four reoccurring museum ideals have been co-produced throughout the debates. The first ideal emphasises the importance of equal representation and democratic inclusion. The second ideal stresses Moderna Museet’s educational purpose. The third ideal underlines that the museum should engage in innovative and experimental activities and the fourth ideal accentuates the importance of international prestige and influence. However, the implications of the four museum ideals have not been fixed nor static. Rather, they have been adjusted to match their changing contexts. It appears that there has sometimes been a discrepancy between the museum ideals and Moderna Museet’s mission statements. However, this discrepancy only underlines the museum ideals’ status as ideals. Moderna Museet may not ever fully achieve what the ideals prescribe, but they nonetheless serve as essential objectives for the museum. Furthermore, the conflicts that have provoked the debates have had a significant impact on the ideals. As an example, the format of the debates has sometimes established polemic between the museum ideals. For this reason, some of the ideals have appeared as opposites, even though their implications have been quite similar.
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