Digital literary productions often combine both the ephemeral dimensions of their screen-readable manifestation and the perennial dimension of their program. Their status thus lies between a totally ephemeral pole of performance and a totally perennial pole of reproducible publication. This “two-sided” status questions our conception of the work. The article begins with a pragmatic analysis of the forms of variability and transience present in print and digital literatures. It then examines how the most common conception of the work deals with these properties by proposing a formulation of this dominant viewpoint in the form of a “front-end dispositive.” Recognizing a blind spot in thinking, he examines how these properties are addressed in models that are better suited to the digital, notably the procedural model. It concludes by proposing the concept of “reading machine,” a technological system that aims to give access to the semiotic dimensions that develop outside screen reading, without suppressing the ephemeral.

数字文学作品通常将其屏幕可读表现的短暂维度和其节目的长期维度结合起来。因此，它们的地位介于完全短暂的表演极和完全可重复出版的永恒极之间。这种“双面”状态质疑我们对作品的看法。本文首先对印刷和数字文献中存在的可变性和瞬态形式进行了务实的分析。然后，它通过以“前端决定性”的形式提出这一主导观点的表述，来检验最常见的作品概念如何处理这些属性。认识到思维中的盲点，他研究了如何在更适合数字化的模型中解决这些属性，特别是程序模型。