Preventive Incantation

It doesn’t matter how one feels* about AI as a technological problem, as it is much more of a financial problem, a threat similar to others that preceded it but special in its own special way. Purveyors already know the limits of the technology but dangle the potential profits as unlimited.

Because all the convenient confusion can be difficult to parse, a cultural interpretation of the crisis requires urgent attention. And thanks to Short Attention Span Theater – the single, unwavering truism threading society together – it needs to be brief and concise. Enter The Great Crash, 1929 by John Kenneth Galbraith into evidence:

…there is deep faith in the power of incantation. When the market fell many Wall Street citizens immediately sensed the real danger, which was that income and employment – prosperity in general – would be adversely affected. This had to be prevented. Preventive incantation required that as many important people as possible repeat as firmly as they could that it wouldn’t happen.  This they did. They explained how the stock market was merely the froth and that t he real substance of economic life rested in production , employment, and spending, all of which would remain unaffected. No one knew for sure this was so. As an instrument of economic policy, incantation does not permit of minor doubts or scruples.

To the mighty extent that AI hype runs riot, our savvy age turns the power of incantation into cynicism verging on a new art form. Machine learning is so deeply ingrained into every sector that it simply must work and cannot fail, to coin a phrase. It must be powerful if important people are warning that it might take over.

Meanwhile, circularity: Tech giants investing in each other’s AI products and projects, driving valuation and demand for power, water, chips, and data centers, and inflating the perception of market consensus. We love the miasma of mortgage-backed securities in the morning.

Circularity > singularity.

Image: Screenshot from Bloomberg March 20, 2026

Bearden

Romare Bearden was born on September 2, 1911, in Charlotte, North Carolina, and died in New York City on March 12, 1988. His life and art are marked by exceptional talent, encompassing a broad range of intellectual and scholarly interests, including music, performing arts, history, literature and world art. Bearden was also a celebrated humanist, as demonstrated by his lifelong support of young, emerging artists. All of this and the following is from the Romare Bearden Foundation site.

Recognized as one of the most creative and original visual artists of the twentieth century, Romare Bearden had a prolific and distinguished career. He experimented with many different mediums and artistic styles, but is best known for his richly textured collages, two of which appeared on the covers of Fortune and Time magazines, in 1968.

From the mid-1930s through 1960s, Bearden was a social worker with the New York City Department of Social Services, working on his art at night and on weekends. His success as an artist was recognized with his first solo exhibition in Harlem in 1940 and his first solo show in Washington, DC, in 1944. Bearden was a prolific artist whose works were exhibited during his lifetime throughout the United States and Europe. His collages, watercolors, oils, photomontages and prints are imbued with visual metaphors from his past in Mecklenburg County, North Carolina, Pittsburgh and Harlem and from a variety of historical, literary and musical sources.

BeardenMecklen

Mecklenburg Autumn (1981)