However, a critical review of the so-called realism shows that realism, in its full and strict sense not only did not and does not exist, but is generally impossible because any images of reality would inevitably be imagined (at least to the extent where we distinguish one and the other); after all, this is indicated by the ability of art photography, which directly and almost immediately (literally photographically) reflects the reality, regardless of our perception of it. On the other hand, a careful study of the indirect features of reference removes the inflexibility of its contrast to performativity.
Thirdly, science fiction is in no way related to one form of art, embodied along with literature and, say, painting also in cinematography, theater, drawing, comic books, and perhaps even in sculpture.
And even in amusement parks and necessarily in computer games: if they can be classified as art, then to a very special, interactive sphere.
In addition, even literary science fiction can neither be classified as a genre, strictly speaking, because it brings together works of a variety of genres (and also of different lines a novel, a story, a narrative, space opera, alternative history, detective fiction) nor as a destination because it can quite easily include different styles (cyberpunk, turbo-realism), not to mention the traditional, more or less stable division into the two main branches the science fiction and fantasy.
Moreover, fantasy forms a whole subculture clubs, a system of conferences, journals and symbols (souvenirs, "baubles", garments, toys, gadgets, meshes, artifacts), a variety of amateur performances and numerous communities; a set of games (such as role-playing, and multi-user computer games local network and online) perhaps, no other social formation can boast of such a diversity.
Nevertheless, it is permissible to speak of science fiction as a phenomenon, the features of which science fiction philosophy is intended to clarify, to such extent in which the entire conglomerate of this diverse phenomena may be lawfully called in short, and to the extent that it can somehow be separated from the rest.
Although we can talk about a more or less pure forms of fiction in the first place literature, painting, cinema, and supposedly computer games.
Despite the fact that problems of philosophical understanding of science fiction are extremely varied, we can try to group them into a few main lines of problematization according to the traditional matrix of leading philosophical disciplines.
Ontology of fiction in this case will include a series of issues related to the existential status of products of imagination and fantasy, from mythological characters to heroes of art that represent the original, separate reality different from the usual, ordinary, standard with its unprecedented novelty and uniqueness.
In fact, fantasy creates special worlds, thus the study of specific rules for creating these kinds of possible and impossible worlds will also refer here: just as postmodernism discovers connections, that are solidly unbreakable, so the rampant variety of fantasy worlds reveals some invariants.
For instance such rules as: the coherency of individual components, fragments and elements; their coordination with one another, fullness of all the emerging opportunities; introduction of the main principle of realizing the scope of all possible layers of meaning in the unity of conceivable horizon.
The situation of a seeming a priori and absolute freedom of the creator in fiction paradoxically uncovers some strange inner necessities and limits, that are defined not only by the specifics of a selected representation language or the coherence of discursive sequence, but also by some, clearly ontological terms-conventions.
Freedom and necessity turn out to be the reverse sides of each other, although not in their dialectical sense.
The development of these new virtual worlds helps to provide better arrangement and ontological characteristics of our world, and the diversification of ontologies and related concepts the conditions and limits of the ontology itself.
Gnosseology of science fiction will include another series of questions, seizing the ultimate learning experience, modeling of exotic cognitive situations, analysis and presentation of objective consciousness realised with the help of artificial means, as well as unique means of detection and dispersal of visible illusions.
For example, an alien is a radical instance of removal that allows to adopt a maximally external attitude and distinguish some features which would not be obvious otherwise: the conventionality of the usual, customary, traditional and non-obviousness of the evidence itself.
Unexpected turns of events, large-scale coverage of the grand space-time intervals, sophisticated scenery give the opportunity to see the limits, denoted by the acknowledged meanings and boundaries of natural intuitions and interpretations; realize the inert stereotypes of mundane consciousness.