The fractals present a series of attributes that they have been studied throughout last decades by major thoroughness, such as beauty, nonexistence of author and of colour, infinity, diversity, rebelliousness, monstrosity, naturalness, animation, irrepresentability, lack of definition, paradox or complexity, between others. His applications in the scientific area are multiple, crossing a spectrum to discipline heterogeneous. In the art, the image, structure, texture and context of the same one, they challenge us to plant theirs questions linked with the reality and the virtuality. Since in science, in the art his applications also are diverse. But the fractals can be presented in these fields in the frame of the discussions of the Philosophy of the Science of the last decades. On the one hand, the realistic conception of the science, and a key author: Ian Hacking in classic texts: "Representation and Intervention" (1991); "The social construction of what " (2000); "why the language concerns the Philosophy" (1979). On the other hand, the conception antirealist of the science, of the semantic family, here represented by Bas van Frassen, in his works "The scientific image" (1980), and "scientific Representation: Paradoxes and perspectives" (2008). On the other hand, the conception antirealist of the science, of the semantic family, here represented by Bas van Fraseen, in his works " The scientific image " (1980), and " scientific Representation: Paradoxes and perspectives " (2008). The scientific realism clearly establishes the existence of entities, conditions and processes that are descript in the frame of a theory, and of which it can manage to be known by certainty if both the entities and the theories, they are real or false. For Hacking, the reality and the representation are linked, which can represent sandal physical objects (figures, statues, paintings, objects in general), the representation is external and public. The scientific antirealism bets without objections on the existence of directly observable entities, and about unobservable entities they us inform that they are fictions, logical constructions, or parts of a set of instruments to reason on the world. With regard to the theories, these are considered to be theoretical constructions, instruments to think, and that can be adapted, applicable or to guarantee an application. Bas goes Frassen admits that the scientists are inserted in the theories that they propose, and that exactly use a pictorial theory of the world when they explore new phenomena, in this respect, the science is a representation of the world. The mentioned author, puts the accent in the representation in pragmatic sense, in the notion of use. From the look of the artists been interested in the fractal art, science and art fuse to represent a new vision of the world based on the complexity, and in the use of technologies as the infography and the digital art. The image does not represent the world, but it creates parallel worlds by means of the shaped one, the use of animations, simulations and virtual realities. A fractal image, it goes beyond being a simple imitation of the world, is a metaphor of the painting that symbolizes the art. The image thinks about the own image. In this work we will approach questions linked with representation, sense and reference, image, entities, models and metaphors, concerning fractals, as point of meeting between the science and the art.
