Study

Study or studies may refer to:

General

Graduation

People

Other

See also

Endgame study

An endgame study, or just study, is a composed chess endgame position—that is, one that has been made up rather than one from an actual game—presented as a sort of puzzle, in which the aim of the solver is to find a way for one side (usually White) to win or draw, as stipulated, against any moves the other side plays.

Composed studies

Composed studies predate the modern form of chess. Shatranj studies exist in manuscripts from the 9th century, and the earliest treatises on modern chess by the likes of Luis Ramirez Lucena and Pedro Damiano (late 15th and early 16th century) also include studies. However, these studies often include superfluous pieces, added to make the position look more "game-like", but which take no part in the actual solution (something that is never done in the modern study). Various names were given to these positions (Damiano, for example, called them "subtleties"); the first book which called them "studies" appears to be Chess Studies, an 1851 publication by Josef Kling and Bernhard Horwitz, which is sometimes also regarded as the starting point for the modern endgame study. The form is considered to have been raised to an art in the late 19th century, with A. A. Troitsky and Henri Rinck particularly important in this respect.

Study (art)

In art, a study is a drawing, sketch or painting done in preparation for a finished piece, or as visual notes. Studies are often used to understand the problems involved in rendering subjects and to plan the elements to be used in finished works, such as light, color, form, perspective and composition. Studies can have more impact than more-elaborately planned work, due to the fresh insights the artist gains while exploring the subject. The excitement of discovery can give a study vitality. Even when layers of the work show changes the artist made as more was understood, the viewer shares more of the artist's sense of discovery. Written notes alongside visual images add to the import of the piece as they allow the viewer to share the artist's process of getting to know the subject.

Studies inspired some of the first 20th century conceptual art, where the creative process itself becomes the subject of the piece. Since the process is what is all-important in studies and conceptual art, the viewer may be left with no material object of art.

Public

In public relations and communication science, publics are groups of individual people, and the public (a.k.a. the general public) is the totality of such groupings. This is a different concept to the sociological concept of the Öffentlichkeit or public sphere. The concept of a public has also been defined in political science, psychology, marketing, and advertising. In public relations and communication science, it is one of the more ambiguous concepts in the field. Although it has definitions in the theory of the field that have been formulated from the early 20th century onwards, it has suffered in more recent years from being blurred, as a result of conflation of the idea of a public with the notions of audience, market segment, community, constituency, and stakeholder.

The name "public" originates with the Latin publicus (also poplicus), from populus, and in general denotes some mass population ("the people") in association with some matter of common interest. So in political science and history, a public is a population of individuals in association with civic affairs, or affairs of office or state. In social psychology, marketing, and public relations, a public has a more situational definition.John Dewey defined (Dewey 1927) a public as a group of people who, in facing a similar problem, recognize it and organize themselves to address it. Dewey's definition of a public is thus situational: people organized about a situation. Built upon this situational definition of a public is the situational theory of publics by James E. Grunig (Grunig 1983), which talks of nonpublics (who have no problem), latent publics (who have a problem), aware publics (who recognize that they have a problem), and active publics (who do something about their problem).

Public (album)

Public is the third album (the first on a major label) by Emm Gryner, released in 1998.

The album, released on Mercury Records, was not a strong seller, and Gryner was subsequently dropped from the label after Mercury was acquired by Universal Music. She revived her own independent label, Dead Daisy Records, for her next release, Science Fair, which ironically sold significantly more copies than Public despite its more limited distribution and marketing.

In 2006, Gryner released PVT, a limited edition album featuring rerecorded versions of songs from Public. PVT was initially released only as a bonus disc with preordered copies of Gryner's 2006 album The Summer of High Hopes. It was later offered as a separate purchase.

Track listing