One can see lasting evidence of the treatment with one's own eyes.
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To hear with one's own ears, to see with one's own eyes!
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Being unable to witness the birth of a baby with one's own eyes due to undergoing a cesarean section might soon be a thing of the past for moms who choose otherwise.
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But Armstrong gives a third, deeply personal answer early in the film, explaining that leaving the planet, and seeing how thin the atmosphere is that keeps us alive — seeing, with one's own eyes, just how fragile human life is — gives a different perspective.
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The George Steer school of reporting – seeing with one's own eyes, asking with one's own voice, assembling the story with one's own judgment, governed by a desire for accuracy – is, fortunately, both alive and careful, as the Post's rejection of the fake harassment story shows.
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What stitches these disparate works together is Johns's interest in seeing with one's own eyes, guided by the mind's eye — the everyday world and the insights one might gain through the imagination in pursuit of a larger truth: the effect of time on us all.
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The watchers in Paul Fusco's scenes, though, imbue the phrase with its original meaning: to share the burden of another's pain, to confirm with one's own eyes and body that something is real — and in the case of these photographs, that Bobby Kennedy was really dead.
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As historian Steven Conn writes, "To see the thing itself, with one's own eyes and in a public place, surrounded by other people having some version of the same experience can be enchanting."Steven Conn, "Museums and American Intellectual Life, 1876–1926", 1998, The University of Chicago Press, 262. Museum purposes vary from institution to institution. Some favor education over conservation, or vice versa.
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In the Finnish language, the instructive case has the basic meaning of "by means of". It is a comparatively rarely used case, though it is found in some commonly used expressions, such as omin silmin → "with one's own eyes". In modern Finnish, many of its instrumental uses are being superseded by the adessive case, as in "minä matkustin junalla" → "I travelled by train." It is also used with Finnish verbal second infinitives to mean "by ...ing", e.g.
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The Act of Seeing with One's Own Eyes is a 1971 American experimental film by Stan Brakhage. Its title is based on the literal translation of the term autopsy. The film documented the highly graphic autopsy procedures used by forensic pathologists, such as the removal of organs and the embalming process. The film is part of Brakhage's "Pittsburgh trilogy",Senses of Cinema: Stan Brakhage a trio of documentary films Brakhage made about the city's institutions in 1971.
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Another reason why Hajj Badal is criticized stems from lack of consistency. Out of the Five Pillars of Islam, none are subject to vicarious atonement. If prayer, Kalima, fasting, or Zakat are not able to be atoned for vicariously, then why can Hajj. Permitting vicarious atonement harms the strictness of performing Islamic traditions on the living and could harm the religion as a whole. Lastly, passages in the Qur’an—specifically 22:28—stress the importance of witnessing the traditions of Hajj with one's own eyes.
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A hand-painted image from The Dante Quartet (1987) Brakhage explored new approaches to filmmaking in the 1970s. In 1971, he completed a set of three films inspired by public institutions in the city of Pittsburgh. These three films--Eyes, about the city police, Deus Ex, filmed in a hospital, and The Act of Seeing with One's Own Eyes, depicting autopsy—are collectively known as "The Pittsburgh Trilogy." In 1974, Brakhage made the feature-length The Text of Light, consisting entirely of images of light refracted in a glass ashtray.
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Jonathan Dimbleby writes that Newton was scrupulous in keeping notes of the cases she examined. On February 22, 1938, she visited the village of Igzim, near Haifa, which had undergone a collective punishment after the assassination of a British officer, a Squadron Leader Alderton. She wrote: "I entered many of the houses and can only say that the havoc which had been wrought was indescribable, and, unless seen with one's own eyes, unbelievable." In sixty houses, she found that doors had been torn from their hinges, mirrors smashed, cupboards emptied, furniture smashed to pieces, bedding and clothing soaked in olive oil.
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Toward the end of the 18th century and the beginning of the 19th century, it was a great dream for every artist to undertake a trip to Italy in order to be able to study the antique buildings with one's own eyes. The fulfillment of this dream was not granted only to Goethe and Schinkel, but Langhans, too, was able to afford a trip in 1768 and 1769 thanks to the support of the Count of Hatzfeld. When he was later assigned to be the head of the Breslau war and dominion chamber, he visited England, Holland, Belgium, and France on behalf of and at the expense of the king.
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The latter films had their world premiere as part of the curated programme 'Le Cinema D'Avant-Garde' at Cinémathèque Française in Paris, France, on June 27, 2008. Sadia is also the creator of the single channel video installation 'The Memory of Water (Part 1)' which was acquired by Australian Centre for the Moving Image(ACMI) to form part of its permanent collection of exemplary works by Australian and international artists. It featured in the exhibition 'Proof: The Act of Seeing With One's Own Eyes'. In 2009, Sadia was awarded a Studio 18 artists' residency, for international "contemporary visual artists pursuing an innovative practice in a professional capacity", at Gertrude Contemporary in Melbourne, Australia.
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In a Senses of Cinema profile of Brakhage, filmmaker and curator Brian Frye wrote, "The key image of The Act of Seeing With One's Own Eyes is quite likely the bluntest statement on the human condition ever filmed. In the course of an autopsy, the skin around the scalp is slit with a scalpel, and in preparation for exposing and examining the brain, the face of each cadaver is literally peeled off, like a mask, revealing the raw meat beneath. That image, once seen, will never leave you." Martin Smith describes the film as an act of mortality salience, a reminder of the inevitability of death and the joy of being alive.
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According to art historian Scott MacDonald, the film's allegorical qualities and purposeful ambiguity invite multiple interpretations. Begotten was first conceived as an experimental theater piece with dance and live musical accompaniment, but Merhige switched to film after deciding that his vision would be too expensive to achieve as a production for live audiences. Antonin Artaud and philosopher Friedrich Nietzsche were major influences on Begotten, as Merhige believed their ideas and theories had not been explored in film to their full extent. The film's visual style was inspired by Georges Franju's documentary short Blood of the Beasts, Akira Kurosawa's Seven Samurai, Stan Brakhage's The Act of Seeing with One's Own Eyes, and the German Expressionist film The Cabinet of Dr. Caligari.
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Merhige was informed by the theories and ideas of Antonin Artaud and Friedrich Nietzsche, which in his opinion had not been developed on film to the fullest extent. His key cinematic influences included Munk, Eisenstein, and Buñuel. In a 1993 interview with art historian Scott MacDonald, Merhige also listed Georges Franju's documentary short Blood of the Beasts as an inspiration for the visual style of the film, as well as Akira Kurosawa's Seven Samurai, Stan Brakhage's The Act of Seeing with One's Own Eyes, and the German expressionist film The Cabinet of Dr. Caligari. The painters Bosch, Munch, and Goya were a major source of inspiration for Merhige, who said fine art had a more consequential influence on Begotten than cinema.
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Before commencing a radiographic examination, it is always advisable to examine the component with one's own eyes, to eliminate any possible external defects. If the surface of a weld is too irregular, it may be desirable to grind it to obtain a smooth finish, but this is likely to be limited to those cases in which the surface irregularities (which will be visible on the radio graph) may make detecting internal defects difficult. After this visual examination, the operator will have a clear idea of the possibilities of access to the two faces of the weld, which is important both for the setting up of the equipment and for the choice of the most appropriate technique. Defects such as delaminations and planar cracks are difficult to detect using radiography, particularly to the untrained eye.
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