Since the second half of the twentieth century, we have witnessed an incredible accumulation of attempts at an exhaustive representation of the world through a place, a time or a principle of some kind. This accumulation reflects the great symbolic power of such an artistic or literary endeavour. Such attempts at an exhaustive representation are not necessarily related to digital aesthetics, but they do take place in a screen culture, as opposed to a book culture, and they work with elements usually associated with databases and their systematic approach to description. The very idea of an attempt at an exhaustive representation of a place appeared, in 1974, when Georges Perec went to Place Saint-Sulpice in Paris and began to make a list of everything he saw, passers-by, birds, trucks, cars and buses, customers in cafes, temperature variations, the usual facts of daily life, and all the rest that could be noted. The book’s title was, quite literally, An Attempt at Exhausting a Place in Paris. Since then, systematic and exhaustive attempts at representation have become commonplace, defining even a new aesthetics, digital in its nature – an info-aesthetics, to use Lev Manovich’s notion. These attempts do not limit themselves to spaces, but address such topics as time, situations, events, objects, body, data, etc. We can easily identify nine types of attempts at an exhaustive representation, which encompass the multiple forms of human action. In this chapter, I will start by defining what such attempts imply ; I’ll continue by giving examples of the nine kinds identified ; and I will pay particular attention to attempts that try to exhaust a given place.