The Beginning of the Modern Age in the 15th Century described a campaign at that time which asserted that fundamental advances in knowledge would not be achieved through scholarly text constructs, but through imaging, as pursued by visual artists with visualisations, model-making, central perspective image space and the development of optical apparatus. The title of the campaign was ut pittura poesis: imaging creates knowledge. This was demonstrated by Leonardo with his anatomical studies, technical design drawings, scientific illustrations and works of art at the turning-point from Christian to humanistic iconography (image interpretation). From the 16th century onward, the scientific and artistic processes of imaging and experimental modelling diverged. The procedural logic of the sciences and the arts seemed totally incompatible; there was talk of three cultures: science, arts and politico-economic communication. With the shared use of signalling machines, i.e. computers, for research and communicative exchanges, sciences and arts are equally obliged to take account of the design logic of electronic signalling. This means that for the first time since the 15th century, there are prospects for meaningful cooperation between scientists and artists.