AI Policy of Lurah Karang Tumaritis

Tauhid Nur Azhar

On a bright afternoon, in the yard of a beautiful walled house, Kyai Lurah Karang Tumaritis sat with a relaxed and carefree pose on a bamboo swing.

Surrounded by his “ring satu” companions, who were still covered in mud from the paddy fields, which may have blended perfectly with the scent emanating from their bodies.

Ring satu of Lurah Badranaya consisted of Dawala, also known as Udel or Prabu Kantong Bolong, previously known as Raden Bambang Pecruk Panyukilan, who was the eternal enemy of Raden Bambang Sukodadi, who was now leaning against a lamtoro tree near Pak Lurah Ismoyo’s swing.

Sukodadi is now better known as Demang Nolojoyotungkluk, the ruler of Karang Kadempel, alias Nala Gareng with a round nose.

Meanwhile, the third character is Cepot, also known as Bawor or Lupit in the Tegal-Banyumasan area. This character confuses the civil registration officers because his order in the Family Card (KK) in Central Java DIY is different from in West Java. In West Java, Cepot, a.k.a Astrajingga, is the eldest child, while in other parts of Java, he is the youngest.

These three members of Ring satu of Lurah Badranaya, the ruler of Karang Tumaritis, have many names, many forms, many personifications, because fundamentally they represent the common people or servants of their time.

Like Lupit, who has a sibling named Slenteng, or in Sidoarjo and its surroundings, he has a child named Besut, and he himself is called Jamblahita. All of these are adaptations of local cultural dynamics that make the punakawan characters unique. They are the messengers in the context of “vox populi vox dei” (the voice of the people is the voice of God). Meanwhile, the Bambang Tamvan knights, who are considered graceful and narcissistic, which may be why the Bambang characters in wayang orang (traditional Javanese theater) are often played by female dancers, represent the “vox elite vox dei” (the voice of the elite is the voice of God).

The concept of wahyu tumurun (divine revelation) can be seen in the play “Wahyu Makutarama”, one of the famous wayang kulit (shadow puppet) plays often performed during periods of leadership succession.

There is a belief that the king’s power is a prerogative of divine nature that is absolute. Tajal.

As a hypothesis, it is not wrong to say that the polarization between imannere (immanence) and transedensi (transcendence) requires the projection of God’s presence within the realm of tangible power. And that is the role of the king.

The king, according to Heraclitus, is not exempt from the aesthetic dynamics in his prominent “panta rei” (everything flows), which my teacher, Pak Pur, said is a manifestation of Siwa Nataraja with his satyam-sivam-sundaram. It is a combination of science and spirituality, aesthetics and ethics. A beautiful and unique IMTAQ (Islamic morality, science, and technology) that produces a certain characteristic.

In the context of Bathiniyah, the processes of takhali, tahalli, and tajalli in the evolution of the awakening of the soul can be represented in the social dynamics that serve as the womb for the birth of culture, which later hatches as art and aesthetics. The dynamic expression of the soul, mind, and subconscious evolves and requires aesthetic catharsis within a framework of romance and critique.

Therefore, the punakawan characters never appear in the stories of Mahabharata or Bhagavadgita and Bharatayudha written by Vyasa Krisna Dwipayana, or in the Ramayana written by Empu Walmiki, because the punakawan characters were born in the land of Java. It was during the Kadiri kingdom era that the punakawan characters first appeared in the literary work Gatotkacasraya, composed by Mpu Panuluh. The Kadiri Janggala Kahuripan era followed Empu Sindok’s transfer of power from Sambhara Bhumi Budara to Medang. The characters represent the common people in the play, possibly preceding the concept of troubadours, entertainers who composed and sang lyrical poetry in Old Occitan during the Middle Ages (1100–1350) in Europe.

So, what was the agenda of the Karang Tumaritis cabinet meeting that afternoon? It was none other than the emergency situation in the realm that Batara Narada had just reported earlier in the day.

There was turmoil in the heavens due to the exponential increase in intelligence capacity since AI was developed by humans. The systematic integration network has given birth not only to intelligent algorithms representing the actuator of intelligence but also involves advances in material science, mathematics, physics, chemistry, biology, and even a new communication-based economic system. The technologies of Batara Bayu, Brahma, and Indra, which have been irreplaceable until now, are slowly being displaced by AI. The task of Batara Yama, who determines human lifespan, can now be predicted and even modulated by AI, preserving biological potential and developing the ability to substitute physiological functions.

The evolving AI algorithms and the development of neuromorphic computers have led to achievements that were previously unimaginable to the gods. Generative AI with its Large Language Models opens up new narratives in writing history. Artificial Super Intelligence is no longer just about autonomous control or intelligent robots; ASI can now plan various scenarios and the construction processes of civilizations, including technological inventions, geopolitical strategies, energy exploitation, and environmental sustainability. Independent AI will become an intelligent control center with the power to determine the fate of the world and humanity within it, much like the gods. Like Batara Guru. This is a technological coup in the pontifical system with transcendental and super-sacred power.

Udel is indifferent, while Bawor is busy using the Wonder AI application to create Pixar-style animations of his father, the Lurah Badranaya. Meanwhile, Gareng is dozing off and unaware that the Lurah is feeling weary.

Finally, Udel spoke up, “Beh, for us who are classified as ordinary humans, isn’t an increased bargaining position in relation to fate a privilege that we have never had, Beh?” He said while lifting a can cup with a green pattern.
The village head choked. “What do you mean, Truk?” he replied sharply, with coffee grounds spluttering out.
“Truck Fuso, actually,” Gareng chimed in, half-asleep. “I’m thirsty, Mom…” Then he drifted back into a semi-conscious state.
“Listen, Beh, doesn’t AI make us, ordinary humans who are almost powerless, suddenly have superpowers to realize our imagination and creative abilities through AI? Look at Bawor, he can turn a picture of Babeh into a Disney-style Santa Claus, or Gareng can make a speech for the Karang Dempel Village Anniversary, cool, right?”
So spoke Udel, also known as Dawala, alias Belgeduwelbeh. “So, it’s not our problem, Beh… It’s the problem of the gods who have lost their authority.” Udel concluded.
Semar felt a pang. And shortly after, Batara Ismaya’s powerful toxic gas spread throughout Karang Tumaritis. Bawor, also known as Bagong, who was engrossed with his iPhone 15, suddenly panicked. Gareng, who had been half-asleep, immediately passed out. Udel, who had briefly covered his mouth and nose, struggled to breathe due to acute shortness of breath.
“You’re being nonsensical…” Semar, the Village Head of Badranaya, reprimanded. “If the gods lose their prestige, have no power, and become equal to humans, then people will be confused about whom to worship,” Semar grumbled. Dawala just scoffed, “So, what’s wrong with that? It means that spiritual values need to be revitalized, Beh!”
Semar looked grim. Jongring Salaka mourned. It turns out that AI is more terrifying than Wisanggeni and Antareja, two Pandawa warriors who only exist in Javanese wayang (shadow puppetry).
Wisanggeni is the son of Raden Arjuna and a celestial nymph named Batari Dresanala, the daughter of Batara Brama and Dewi Saraswati.
Wisanggeni is a special character in Indonesian wayang. He possesses extraordinary powers, is brave, decisive in his actions, and has exceptional intelligence. This makes him dangerous because he is a demigod, a half-human, half-god.
Meanwhile, Antareja is the son of Werkudara, also known as Bima, the second son of the Pandawas. He is powerful and invincible. His power is unique: anyone whose footprint he licks will be fatally affected.

Antareja became the king of the Jangkarbumi kingdom with the title Prabu Nagabaginda. He passed away before the Bharatayuddha war, following Batara Krishna’s order, by licking his own feet as a sacrificial offering (tawur) for the Pandawas’ victory in Bharatayuddha.
Similar to Wisanggeni, Antareja was also eliminated by the poet, as he would bring disharmony to the Kurusetra war.
The gods in Jonggring Salaka, who had just breathed a sigh of relief after the issue of Wisanggeni and Antareja, were now troubled by the generative AI, among others, developed by Raden Sam Altman, a Chicago-born child who once studied at Stanford.
Will AI become a new god that erodes the control of power over the holy throne of Jonggring Salaka?
Semar actually wanted to convey to his fellow gods that change is inevitable, and a shift in authority is not impossible.
The search will lead to the discovery of the river’s research endpoint, but at the same time, it will also lead to an encounter with the vast ocean of knowledge that poses billions of questions.
AI is not a god, nor is it the Creator. AI is an artificial intelligence that we create as an extension of our augmented capabilities, empowered with smart algorithms, so that we can use it as a new tool with an escalated intensity to reach areas that were once considered limited.
AI is the evolution of humanity, that is what Semar, the Village Head of Badranaya, believes. Therefore, as a leader and caretaker, it is only appropriate for Semar to accept AI as an inseparable part of the esoteric evolution that will always maintain the unique personal relationship between humans and their Creator. It also establishes a universal relationship at a global level that is nurturing and prevents cataclysmic reactions as deterministic responses from triggered catabolic mechanisms.