In what ways can the coded literature that circulates in the digital realm be interpreted in light of the logic of change? At present, pre-individual hyperlinks and hypermedia, encompassing the internet, social media platforms, blogs, hashtags, Twitter, and the world wide web, are utilized to represent the database of encoded literary texts. The correlation between the internet and AI is a captivating subject in the age of artificial intelligence. The historical progression of the World Wide Web illustrates its genetic and developmental stages: from static text-based information that was easily navigable for users to the social web, which integrated user-generated content and web applications, and finally to the “semantic web,” which implemented artificial intelligence and machine learning. Transductive Intermedia, an emerging technology that integrates machine learning algorithms and user-supplied data via neural networks trained by artificial intelligence, facilitates enhanced “interoperability” and “hyper-connectivity” among diverse platforms and devices (e.g., Twitter, Facebook, or YouTube). The touchscreen or electronic interface serves as an illustration that “code” can be considered an essential element of the “text” in the form of a digital world literature database. This is apparent in electronic literature, digital poetry, and digital poetics of the present day. The aim of this article was to reassess the consequences of the challenges that the convergence of artificial intelligence, intermedia, digital humanities, and digitized/born-digital world literature presents. Furthermore, it proposes the concept of the pre-individual within the realm of transductive digital world literature.

Wittgenstein reflects on memory, saying that photograph is not reliable, and the memory-image cannot convince us either, since "memory does not show us the past, any more than our senses show us the present," and "memory is itself conditioned by the specificity of context." Reading closely the conceptual artist Joseph Kosuth's large art exhibition, called "The Play of the Unsayable," Marjorie Perloff relates Wittgenstein's theory of language game to Kosuth's art text of Abridged in Ghent, and argues that the language game initiated by a sentence like "I see us still, sitting at the table" is charged with possibilities for "philosophy" as a "form of poetic composition." Wittgenstein's Ladder is an apt figure for Marjorie Perloff's radical aesthetic which is ethical as well, doing the right thing for the individual poets, moving up the ladder which Gertrude Stein called "beginning again and again," but with changes with repetition in a spiral way. Later in her preface of Unoriginal Genius: Poetry by Other Means in the New Century (2010), Marjorie provides her rationale to update her earlier work, Radical Artifice: Writing Poetry in the Age of Media (1991) in terms of a "new citational and often constrained-bound poetry" in an environment of "hyper-information." Since Unoriginal Genius (2010), Perloff traces her poetics of "unoriginal genius" from a Benjamian Arcades Project, made up of creative citations, discussing the processes of choice, framing, and reconfiguration. It is my contention that Marjorie Perloff as the critic par excellence has been dedicating her own Arcades Project to explore the intriguing development in contemporary poetry, creatively embracing the "unoriginal" writing of uncreative poets (Email: yk4147@ gmail.com).