Both, it appears, are looking for tools or 'languages' to extend the space of what is describable, in this sense understandable, and to build something like 'safe terrain' to walk on in the humming chaos. While the arts are clearly more free in what languages they chose or devise, the comprehension-expanding but rather strict languages of science (as incomprehensible as they may appear to the untrained observer) make them less ambiguous and the insights conveyable to more.
Creativity acts in both worlds, but the ironclad rules of the scientific grammar (mathematics in most cases) allow for a less ambiguous communication of new-found understanding between those speaking the language than the arts could ever achieve within their babylonian conversation. Art often appears to indulge in the quest for new forms of expression - therefore new grammars - to the gain of creativity and expressive richness, but at the expense of comprehendability and generality.
The science-artist Tim Otto Roth is one of the most active figures in the quest for the visualization of the scientific world. At the American Museum of Natural History in the very heart of NYC he just opened a show of his recent mapping from the language of science to the poetry of art. The untrained observer - speaking neither in the tongues of science nor arts - feels the vegetative reaction of his organism to the brain's struggle for comprehension and the search for structure - something that would be impossible for the public without the artistic transliteration. Tim Otto Roth by this means opens an emotional door to the sciences that is usually rather tightly shut. He takes the complementary approach to Pythagoras, who described cosmic principles with musical analogues. Roth uses the complex harmonics of nature to compose his dynamic art. As Martin Kemp put it in a review of another installation of Roth's "we stand as witnesses to the chaotic drumbeats of cosmic radiation."