I would like to create a visual studio project that does not depend on the Optix-Samples and that can be portable, including all the usefull files and using nvcc without cmake , but i do not rememember how to configure the visual studio project properties in order to do that. I want to test it frequently of several machines. I would appreciate your help.
This paper considers how these graphic / animated representations of Ginsberg's "Howl" employ different strategies of interaction between word and text, and how, with each new repetition and distribution, unintended irony can "taint" a poetic text, one that established an aesthetic regime of "authenticity," i.e. a frank expression of direct, unfiltered experience. Illuminated Poems includes all four parts of "Howl," and the images vary from watercolors to "scratchboard," a method also used in Flood! and Blood Song that mimics woodcuts. In the film, the collaboration with digital animators John Hays, Tod Polson and other artists at the Monk Studio, has led to a strikingly different graphic product, ultimately manifested as "graphic novel" images in conjunction with Ginsberg's text. While Eric Drooker has produced a forceful adaptation of "Howl" in his animated film, the transit of image and text through a feature-length film burdens the graphic novel with images that invite intrusions of irony, in part by popular iconic renderings of Ginsberg, his intimate acquaintances, and his more striking poetic images. In spite of this ironic intrusion, Drooker's "graphic novel" is successful as a visual graphic, though less so as a graphic novel; it addresses and embellishes the visual with the aid of this canonical text, further broadening the genre border for what the graphic novel can do.
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In the "Introduction" to HOWL: A Graphic Novel, Drooker says that Illuminated Poems (1996) "caught the attention of filmmakers Rob Epstein and Jeffrey Friedman"; and it is here that his creation of image to match the text of "Howl" begins (2010: xiii). In this collaboration with Ginsberg, Drooker's images encourage visual interpretations that evince the same thematic concerns as the text, and thereby a similar degree of "authenticity."
In the film, Epstein and Friedman have treated key players in the historical and biographical narrative as two-dimensional, relevant to the story only in the degree they are related to Ginsberg or the poem. These include the relatively obscure Peter Orlovsky, but also the more visually familiar Neal Cassady, Lawrence Ferlinghetti, and Jack Kerouac. These key players in the history of the Beats and the composition of "Howl" have no speaking parts in the film. By removing much of the known history of these figures, they are iconically emptied, allowing other meanings to circulate. To the cognoscenti, the photo-realistic depictions in the film invoke these figures merely as "cultural icons," since their role in the narrative is devoid of known historical specificity. Ginsberg escapes this fate to a large degree-after all, the plot of the film is completely dependent upon his development as a poet and his ultimate acceptance of his sexuality. 2ff7e9595c
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