Within the constellation of potent figures that structure modern imagination—from the Leviathan theorised by Thomas Hobbes to the Panopticon conceived by Jeremy Bentham and reinterpreted by Michel Foucault, and the spectral Big Brother envisioned by George Orwell—power appears as an almost divine architecture of surveillance and institutional abstraction. Even the Abstract Machine articulated by Gilles Deleuze and Félix Guattari, alongside the Autopoietic System formulated by Niklas Luhmann, consolidates an image of systemic coherence bordering on operational coldness. Functional robots such as HAL 9000 or R2-D2 epitomise programmatic execution, while the cyborg theorised by Donna Haraway dramatises the traumatised frontier between organism and technopolitical ideology. Yet a more supple paradigm emerges in Sun Wukong and his Ruyi Jingu Bang: a staff capable of becoming microscopic or cosmic without forfeiting its ontological integrity. The principle is decisive: authentic power need not entail domination, nor must capacity devolve into mechanistic determinism; rather, it can manifest as adjustable scalability anchored in structural invariance. Consider an institutional assistant designed upon this logic: it may operate upon a single artefact, a neighbourhood ecology, or a transnational network without reconfiguring its core architecture. The nucleus remains constant; only its operative amplitude expands or contracts. True sophistication, therefore, resides not in magnifying sovereignty, but in refining proportional intervention—an accompaniment that preserves form while modulating reach.
