In the prologue to Walid Raad’s Hostage: The Bachar Tapes (2001), the speaker asks that his words appear against a grey background. Or, he continues after a pause, ‘use a blue background . . . blue just like the Mediterranean’. Beginning with this colourful riddle, this article investigates the work of the monochrome in the Atlas Group Archive. With this attention to the monochrome as a format, the author’s goal is to move away from the categories of documentary and fiction that dominate discussions of Raad and parafictional work more generally, towards the formal infrastructure through which such works command belief and emotion. This attention to the aesthetic form of the archive not only brings into focus the constituent role of design in the construction of knowledge, but it also reveals the transformation of the monochrome in its encounters with the archive, technical media, and the chromatics of affective capitalism.

在瓦利德·拉德的人质：巴查尔录音带的序幕中(2001)，演讲者要求他的话出现在灰色背景下。或者，他在停顿后继续说，“使用蓝色背景”。. . 蓝色就像地中海'。本文从这个五颜六色的谜语开始，研究了阿特拉斯集团档案馆中单色的工作。将单色作为一种格式，作者的目标是摆脱主导 Raad 和类小说作品讨论的纪录片和小说的类别，转向更广泛的此类作品控制信仰和情感的正式基础设施。这种对档案美学形式的关注不仅使设计在知识构建中的构成作用成为焦点，而且还揭示了单色在与档案、技术媒体、