The paper discusses the concept of screen in Anne-Marie Christin's "screen thinking" according to Klinkenberg's cognitive semiotics and is interested in the form it takes in a literary digital production. It first shows that the screen is not an object but a sign. Using the “screen thinking” conception in the production of writing then creates a specific concept of communication: the "front dispositive." He then shows that its application to digital production results in a state status for the screen.
In a second part, the article confronts the “screen thinking” with the complete semiotic properties of programmed productions. The front dispositive is relativized; it depends on the place considered by the actor in the dispositive and on the physical instantiation of this dispositive. The article then proposes the concept of a “friable screen” in as many screens as there are particular situations. In each of them, the screen (grain) has the appearance of the front dispositive screen.