The paper discusses the artistic-scientific project of Sabine Kacunko which has acquired relevance beyond the versatility and multiplicity of the used visualization technologies that cross the narrow circle of art and its history, the art market as well as the natural and cultural politics. The principle of recording, processing and reproducing the invisible in the context of the visualization methods and strategies in the art of the 20th century and, above all, the present should be understood with a glance at the SAY(IL)ING project beyond the artistic-esthetic dimension as an epistemic model, as a social metaphor and also as a test case of interactivity. However, this demanded an artistic-scientific method of long persistence, which spares no efforts to assess a triple parallel between the development of the media engineering, the modern and contemporary art and culture and the corresponding theory formations. The project SAY(IL)ING by Sabine Kacunko heads exactly into this direction. To short-cut the significance-open surface of the images with the development of the art and media history is the most insightful approach to access Sabine Kacunko‘s work. The impossibility to penetrate into this work over the surface of the artist‘s images poses inevitably the question about the meaning and expressiveness of the (re)presented formation and decay processes of the photographic, videographic and digital image. Out of the chaos and the method, with which she artistically perpetrates death and its healing, Sabine Kacunko has unlocked an interdisciplinary field of research in the best sense of the word, whose outcomes contribute to the pivotal question: what the meaning of art in an engineered society is and to what extent it still has a capacity to visualize, interpret and represent the world in the age of media democracy.