The Atlas Group Archive
File title: Secrets in the Open Sea
Secrets in the Open Sea consists of 6 large photographic prints that were found buried 32m under the rubble during the 1992 demolition of Beirut’s war-damaged commercial districts. The prints were different shades of blue and each measured 110x183cm. The Lebanese government entrusted the prints to The Atlas Group in early 1994 for preservation and analysis.
File title: Secrets in the Open Sea
Secrets in the Open Sea consists of 6 large photographic prints that were found buried 32m under the rubble during the 1992 demolition of Beirut’s war-damaged commercial districts. The prints were different shades of blue and each measured 110x183cm. The Lebanese government entrusted the prints to The Atlas Group in early 1994 for preservation and analysis.
In late 1994, The Atlas Group sent the prints to laboratories in France and the United States for technical analysis. Remarkably, the laboratories recovered small black and white latent images from the prints, and the small images represent group portraits of men and women. The Atlas Group was able to identify all the individuals represented in the small black and white prints, and it turned out that they were all individuals who had been found dead in the Mediterranean between 1975 and 1990.
The Atlas Group published its findings in a report in December 1996. In the report, no determination was made about the size of the large prints nor about their colour.
By and/or attributed to: Anonymous.
Number of plates in file:6
Date of production 2002
The Atlas Group published its findings in a report in December 1996. In the report, no determination was made about the size of the large prints nor about their colour.
By and/or attributed to: Anonymous.
Number of plates in file:6
Date of production 2002
From ‘Let’s be honest the rain helped’: excerpts from an interview with the Atlas Group.
...We have never referred to the Atlas Group as a fictional foundation... Our aim with this project has never been to fool the viewers and listeners by presenting stories and documents about anything and anyone in order to ‘see what we can get away with’. Our interest is in how certain stories and situations capture the attention and belief of viewers and listeners. But we are not investigating this phenomenon in the abstract but specifically in relation to the history of Lebanon. We have always maintained that part of our interest with this project is to examine what has, is and can be said, believed and known about Lebanon, its residents, history, culture, economy and politics. This project operates between what is sayable, believable and known (as true or false). And we do not mean to imply that these terms have a negative relation to each other – that belief is the opposite of knowledge, for example. Nor that belief is a flawed cognitive relation to the world and knowledge a correct one. If we proceed from the understanding that belief is the fundamental attitude that a person has when he or she holds that a proposition is true, and that knowledge is certified true belief (by virtue of evidence), then clearly we need to ask about how any proposition becomes true or false and what constitutes evidence. In this regard and as has been argued, it is clear that what we hold to be true is not necessarily consistent with what is true at the level of the senses, reason, consciousness and discourse but also with what holds to be true at the level of the unconscious. Hence we would urge you to approach these documents we present as we do, as ‘hysterical symptoms’ based not on any one person’s actual memories but on cultural fantasies erected from the material of collective memories.
From: The discourse on Transubstantiation by St Thomas Aquinas (Summa Theologica) c.1225-7
Whether the accidents of the bread and wine remain in this sacrament after the change?
Objection 1. It seems that the accidents of the bread and wine do not remain in this sacrament. For when that which comes first is removed, that which follows is also taken away. But substance is naturally before accident, as is proved in Metaph. vii. Since, then, after consecration, the substance of the bread does not remain in this sacrament, it seems that its accidents cannot remain.
Objection 2. Further, there ought not to be any deception in a sacrament of truth. But we judge of substance by accidents. It seems, then, that human judgment is deceived, if, while the accidents remain, the substance of the bread does not. Consequently this is unbecoming to this sacrament.
Objection 1. It seems that the accidents of the bread and wine do not remain in this sacrament. For when that which comes first is removed, that which follows is also taken away. But substance is naturally before accident, as is proved in Metaph. vii. Since, then, after consecration, the substance of the bread does not remain in this sacrament, it seems that its accidents cannot remain.
Objection 2. Further, there ought not to be any deception in a sacrament of truth. But we judge of substance by accidents. It seems, then, that human judgment is deceived, if, while the accidents remain, the substance of the bread does not. Consequently this is unbecoming to this sacrament.
Reply to Objection 1. As is said in the book De Causis, an effect depends more on the first cause than on the second. And therefore by God's power, which is the first cause of all things, it is possible for that which follows to remain, while that which is first is taken away.
Reply to Objection 2. There is no deception in this sacrament; for the accidents which are discerned by the senses are truly present. But the intellect, whose proper object is substance as is said in De Anima iii, is preserved by faith from deception. And this serves as answer to the third argument; because faith is not contrary to the senses, but concerns things to which sense does not reach.
Secrets in the Open Sea and The Atlas Group are the work of the artist Walid Raad.
The four images above are from the StPaul archive and are opyright patrickstpaul 2011.
All rights reserved.
The four images above are from the StPaul archive and are opyright patrickstpaul 2011.
All rights reserved.
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