Abstract In photojournalism and documentary photography, blur usually serves to signal an “authentic” encounter of one kind or another. In cases of physical violence, blur can indicate authenticity in a uniquely powerful way, constituting a disruption (or violation) of the aesthetic order of the photograph, just as violence itself disrupts the order of everyday lived experience. Physical violence is not just movement, but movement that is somehow out of control. The moving thing (such as a fist) becomes an abstraction that bursts its borders and confronts us with still photography’s limited capacity to render moving things still. This article uses one particular photograph from Donna Ferrato’s 1991 work, Living with the Enemy, to consider photographic blur as both an indexical and symbolic marker of violence, and to argue that domestic violence remains, despite Ferrato’s seminal work on the subject, essentially un-photographable.

中文翻译：

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不可能的照片：模糊和家庭暴力

摘要 在新闻摄影和纪实摄影中，模糊通常用于表示一种或另一种“真实”的相遇。在身体暴力的情况下，模糊可以以独特有力的方式表明真实性，构成对照片审美秩序的破坏（或违反），就像暴力本身破坏日常生活经验的秩序一样。身体暴力不仅仅是运动，而是不知何故失控的运动。移动的东西（比如拳头）变成了一种抽象，打破了它的边界，让我们面对静态摄影的有限能力来渲染移动的东西。本文使用 Donna Ferrato 1991 年作品《与敌人共存》中的一张特定照片，将照片模糊视为暴力的索引和象征标记，