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Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

A powerful reminder to anyone who thinks design is primarily a visual pursuit, The Senses accompanies a major exhibition at the Cooper-Hewitt Smithsonian Design Museum that explores how space, materials, sound, and light affect the mind and body. Learn how contemporary designers, including Petra Blaisse, Bruce Mau, Malin+Goetz and many others, engage sensory experience. Multisensory design can solve problems and enhance life for everyone, including those with sensory disabilities. Featuring thematic essays on topics ranging from design for the table to tactile graphics, tactile sound, and visualizing the senses, this book is a call to action for multisensory design practice. The Senses: Design Beyond Vision is mandatory reading for students and professionals working in diverse fields, including products, interiors, graphics, interaction, sound, animation, and data visualization, or anyone seeking the widest possible understanding of design.The book, designed by David Genco with Ellen Lupton, is edited by Lupton and curator Andrea Lipps. Includes essays by Lupton, Lipps, Christopher Brosius, Hansel Bauman, Karen Kraskow, Binglei Yan, and Simon Kinnear.

This book details social themes in the works of James Fenimore Cooper, Nathaniel Hawthorne, Herman Melville, and Mark Twain.

For the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving, radiating legend Mike Cooper in Lisbon, Portugal. Sharing their vision over lengthy living room guitar sessions and evenings of cold wine in Fado taverns, Gunn and Cooper created Cantos de Lisboa, an album with variable vernacular shades and musical forms from Portugal's antiquity.

Originally planned as the town of Defiance, Glenwood Springs was renamed for its natural hot springs along the banks of the Colorado River and for Glenwood, Iowa, the hometown of Isaac Cooper. In the early 1880s, Cooper had the vision of a spa resort here but not the finances to turn his dream into a reality. He sold out to Walter Devereux and his investors, who saw the construction of the Hot Springs Pool, Hotel Colorado, and Vapor Caves completed. Once railroads arrived in 1887, Glenwood Springs became a playground for wealthy travelers who sought out the hot springs as well as other recreational opportunities, such as hunting, fishing, hiking, and horseback riding. With beautiful scenery, caves to explore, and community festivals, visitors today sustain Glenwood's economy. Located at the confluence of the Colorado and Roaring Fork Rivers, our community has also served as a retail hub for the surrounding area from the 1880s to the present.

Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

Play is the most effective way for children to develop critical life skills such as creative thinking and social problem solving. In this book, Betty Jones, well-known for her work on play, is joined by her colleague Renatta Cooper to offer a radical vision of early schooling―an antidote for the current pressure of standardized education.Practicing what it preaches, Playing to Get Smart will be a playful reading experience for teachers and parents alike. With jokes, riddles, and stories sprinkled throughout, the authors show how important play is for children of all ethnic and socioeconomic groups, from birth to age 8. A provocative challenge to teachers and parents of young children, Playing to Get Smart: Explains why teachers need to provide opportunities for quality play and why parents need to understand the benefits of play for their children. Demonstrates how play offers opportunities for initiative, leadership, conflict resolution, and peacemaking. Addresses the negative effects of traditional schooling, particularly on poor children.

Originally planned as the town of Defiance, Glenwood Springs was renamed for its natural hot springs along the banks of the Colorado River and for Glenwood, Iowa, the hometown of Isaac Cooper. In the early 1880s, Cooper had the vision of a spa resort here but not the finances to turn his dream into a reality. He sold out to Walter Devereux and his investors, who saw the construction of the Hot Springs Pool, Hotel Colorado, and Vapor Caves completed. Once railroads arrived in 1887, Glenwood Springs became a playground for wealthy travelers who sought out the hot springs as well as other recreational opportunities, such as hunting, fishing, hiking, and horseback riding. With beautiful scenery, caves to explore, and community festivals, visitors today sustain Glenwood's economy. Located at the confluence of the Colorado and Roaring Fork Rivers, our community has also served as a retail hub for the surrounding area from the 1880s to the present.