Far from being neutral intermediaries, digital creative tool such as Word, Power Point, Facebook, Instagram or Gmail materialize the “mind models” advocated by their creators and owners. From the first works of net art to the "third generation" works of digital literature written and published on social platforms, how do the authors negociate with these models? I discuss in this article historical examples (Annie Abrahams, Don't touch me; Jean-Pierre Balpe, “Rachel Charlus”) and examples drawn from my own research and creation practice (Böhmische Dörfer, Nouvelles de la Colonie), relying on a techno-semiotic methodology.