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Este ensayo propone una nueva hermenéutica para entender los rasgos formales de los videojuegos dada la naturaleza basada en la acción del medio y la interacción entre los espacios diegético y no diegético. El marco posee cuatro partes: (1) actos diegéticos del operador como el movimiento y la expresión dentro del mundo del juego, (2) actos no diegéticos del operador como el juego codificado y basado en esquemas que se da en lo que el autor denomina "espacios de configuración" (por ejemplo, menús de visualización o de configuración inicial), (3) acciones diegéticas de la máquina como el comportamiento de PNJ (personajes no jugadores) y los entornos inmersivos y ambientales, y (4) acciones no diegéticas de la máquina, como fallos y otros efectos técnicos.

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Jacques Ranciè re, in his essay 'Are Some Things Unrepresentable?' , puts forth a challenge that is ever more pertinent to our times. What constitutes the unrepresentable today? Ranciè re frames his answer in a very specific way: the question of unrepresentability leads directly to the way in which political violence may or may not be put into an image. Offering an alternative to Ranciè re's approach, the present article turns instead to the information society, asking if and how something might be unrepresentable in a world saturated by data and information. Thus one approaches the issue of transparency and secrecy here from the perspective of the relative perspicuity (or opacity) of data visualization. Two theses structure the argument, first that 'data have no necessary visual form' and, second, that 'only one visualization has ever been made of an information network'. The tension between these two theses leads to a disconcerting conclusion, that the triumph of information aesthetics precipitates a decline in informatic perspicuity. One is obligated therefore to call for a strong reinvigoration of poetics and hermeneutics within the digital universe, so that representation as such can take place, perhaps for the first time.

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