FEATURES OF «THE PROJECT FANTASY»
1. We suppose that basically there is no way to know how exactly fantastic arrangements, artifacts and ideas work. The issue of its design is basically unsolvable, as the issue of what could be inside of the painted in the picture house. Consequently, subjects of science fiction works that are analyzed by the “Project Fantasy” create and allow a certain illusion that such information can be obtained and subsequently implemented as an innovative artifact.
2. Supposing that our visitors are curios about it, we believe that innovative artifacts primarily satisfy the need for new information. For example, the first phrase of the famous Aristotle's treatise "Metaphysics" is: "All men by nature desire to know". "Life - is a cognition" - proclaims famous modern biologist Humberto Maturana. Furthermore, ethologists assert that focusing on the search of new information is a behavior algorithm developed in the course of biological evolution required to living beings for survival and interspecies struggle. Tendency to new information is sometimes called "neophiles". Namely this approach is used by Alexander Osipov when explaining the popularity of fiction. He writes: “The Psychology of Human initially focused on the unusual, exceptional, and fantastic things. Habitat in the natural environment, gradual adaptation of a human to it blunts the perception of the details of this environment. That is why our consciousness, the mechanisms of which require new information (after all the human motto is knowledge) is so sensitive to anything that goes beyond the usual, over-exposed. Fantasy in this sense is the perfect environment for uninhibited consciousness”. Why not?
3. Therefore, in our project, we assume that fiction helps to meet certain basic human needs; anyway, Tolkien wrote: "... an escape from the reality is one of the main functions of fairy tales". Moreover, according to Tolkien, escape from reality is "the oldest and the deepest desire of a man".
4. "Project Fantasy" admits that at the beginning of the XXI century, the need for a surprise will increase many times. And this is connected, first of all, namely with the development of the informational component of the term "information technology" (IT). Consequently, in the works, that "serve" this need, information, aesthetic point is important. Fantasy becomes just a fantasy, i.e. predeterminedly the fiction. The essence of any phenomenon is like "suspended" in the force field of the numerous contradictions. Developed rationalism is at one pole and the "inertia of miracles" and superstition at another one revive story about the amazing and that is important for our understanding of the original project. The desire to transform to intentively recreate the world, to improve the nature and the human in a practice, leads to innovative artifacts, because every recreating of reality with imagination holds the possibility of a fantastic image being born. This is our approach.
5. Thanks to the works of P.K. Anokhin, we can assume that the person has its own kind of "foresight instinct". Under the terms of cybernetics, every system tends to useful effect. But it is not always achieved. This inconstancy of the useful effect caused the feedback phenomenon. The body does not give any order without simultaneous organization of a check unit. However, in order to test the effect, it is necessary to foresee it in advance. Verification unit is impossible without prediction machine. Usually this prediction function is instantaneous and bypasses the consciousness, but in particularly difficult cases it is recognized. The unconscious, biological function becomes a function of the consciousness. Consequently, the "foresight" seems an important component of the human psyche.
6. The need to predict and then to describe, with which the team of “the Project Fantasy” faces at every step because of the specific kind of activity, could not help our approach and to strengthen it. In particular, the fantasts ask the question “what would happen if ...”. Thereby their works assume the character of idiosyncratic “mental experiments”. And as is known, that a scientific experiment can be very expensive or too extended in time - it is often transferred to the paper or replaced with “mental experiment”. Modern fiction also sets up mental experiments, and prefers to set up them in areas where real experiments may be too costly for humanity. For example, to the literary "mental experiments" relate the so-called "novels-warning" - a novel about the future as it shouldn’t be, but what it may become if we will not think about the consequences of our today’s actions.
7. The topic of "unexpected" directs our attention in the project to close ties available for the fiction with the emotion of surprise. Unexpected information is surprising, therefore, a fantastic thing is very often called an amazing one. Now is worth remembering what a surprise, according to Plato, is the beginning of philosophy. In some sense, science fiction can be considered as artificial stimulation of philosophical metaphysical needs, i.e. such a sort of philosophical “masturbation”. This comparison has nothing to be ashamed of, if you remember how often with the help of erotic works we imagine the situations in which very complex ethical, philosophical, religious, and other problems are specially sharpened.
8. The properties of a fiction – “awesomeness”, “surprise” and “novelty” can be called psychological, because they suppose the appearance of a more or less spontaneous human reaction to the exhibited phenomena. Other, more powerful emotions may be added to the surprise. For example, E.N. Kovtun believes that the meeting with the fantastic “... is shocking for the characters”, and among the emotions accompanying this “psychological trauma” may be fear, terror and longing for the familiar world or something incredible.
9. Futurology as a social science that investigates the specific forms of the probable future is close to fiction on its subject. However, it should be kept in mind that the modern futurology is the branch science that analyzes separate trends in science, technology and socio-economic relations. It cannot present an accurate picture of the future, to coordinate all the details and the specialties. Whereas fantasy namely strives to create paintings, even if it put in the basis of such a picture, one or more represented as significant social trends. Consequently, fantasy in our project is analyzed much deeper than it is done by futurologists. S. Lem in the article “Science fiction and futurology” dedicated to the activities of the American futurologist Herman Kahn and his colleagues from the "Rand Corporation" notes, "Kahn reluctantly showed in his works, that the methodology of research, “borrowed” from the science fiction and provided with a label of scientific prediction turns out to be equally “untenable and as a prognostic method, which should provide a reasonable acceptance of military-political decisions, but also as literature - because his (Kahn’s) works are well not enough, even to be recognized at least as an interesting fiction”. Thus, here is to the fore all the same that is contraindicated for fantastic literature, a combination of the methods of artistic life research with goals and objectives of scientific research.
10. Priority of fiction in the scientific and technological forecasting is recognized by modern researches. Thus, G.M. Hovanov notes that “the most striking examples of compiling “the long-term forecasts” of the further development of human civilization have been and remains a science fiction and the socio-fiction works”. And a modern prognostics looks for its way, its methods, constantly looking back at the existing experience, analyzing models created in fantastic literature and predictive modeling techniques.