An invention is a unique or novel device, method, composition, process or discovery. It may also be an improvement upon a machine or product, or alternate means of achieving a process. An invention that is not derived from an existing model or idea, or that achieves a completely unique function, discovery, or result, may be a radical breakthrough. If such a work has novel and not obvious to others skilled in the same field, the inventor may be able to obtain the legal protection of a patent.

Another meaning of invention is cultural invention, which is an innovative set of useful social behaviors adopted by people and passed on to others.^[1] Invention is also an important component of artistic and design creativity, although the patentability of artistic invention is heavily debated.

Regardless of type, inventions often extend the boundaries of human knowledge, experience or capability.

Science and Invention magazine cover, 1928

The Process of Invention[link]

Practical means of invention[link]

The idea for an invention may be developed on paper or on a computer, by writing or drawing, by trial and error, by making models, by experimenting, by testing and/or by making the invention in its whole form. Brainstorming also can spark new ideas for an invention. Collaborative creative processes are frequently used by designers, architects and scientists. Co-inventors are frequently named on patents.

In addition, many inventors keep records of their working process - notebooks, photos, etc., including Leonardo da Vinci, Thomas Jefferson and Albert Einstein.^[2][3][4][5]

In the process of developing an invention, the initial idea may change. The invention may become simpler, more practical, it may expand, or it may even morph into something totally different. Working on one invention can lead to others too.^[6]

History shows that turning the concept of an invention into a working device is not always swift or direct. Inventions may also become more useful after time passes and other changes occur. For example, the parachute became more useful once powered flight was a reality.^[7]

Conceptual means[link]

Invention is often a creative process. An open and curious mind allows an inventor to see beyond what is known. Seeing a new possibility, connection, or relationship can spark an invention. Inventive thinking frequently involves combining concepts or elements from different realms that would not normally be put together. Sometimes inventors disregard the boundaries between distinctly separate territories or fields.  Several concepts may be considered when thinking about invention.

Thomas Edison with phonograph. Edison is considered one of the most prolific inventors in history, holding 1,093 U.S. patents in his name.

Play[link]

Play may lead to invention. Childhood curiosity, experimentation, and imagination can develop one's play instinct—an inner need according to Carl Jung.  Inventors feel the need to play with things that interest them, and to explore, and this internal drive brings about novel creations.^[8] Thomas Edison said, "I never did a day's work in my life, it was all fun".  Inventing can also be an obsession.

Re-envision[link]

To invent is to see anew. Inventors often envision a new idea, seeing it in their mind's eye. New ideas can arise when the conscious mind turns away from the subject or problem, when the inventor's focus is on something else, or while relaxing or sleeping. A novel idea may come in a flash—a Eureka! moment. For example, after years of working to figure out the general theory of relativity, the solution came to Einstein suddenly in a dream "like a giant die making an indelible impress, a huge map of the universe outlined itself in one clear vision".^[9] Inventions can also be accidental, such as in the case of polytetrafluoroethylene (Teflon).

Insight[link]

Insight can also be a vital element of invention. Such inventive insight may begin with questions, doubt or a hunch. It may begin by recognizing that something unusual or accidental may be useful or that it could open a new avenue for exploration. For example, the odd metallic color of plastic made by accidentally adding a thousand times too much catalyst led scientists to explore its metal-like properties, inventing electrically conductive plastic and light emitting plastic-—an invention that won the Nobel Prize in 2000 and has led to innovative lighting, display screens, wallpaper and much more (see conductive polymer, and organic light-emitting diode or OLED).^[10]

Exploration[link]

Invention is often an exploratory process, with an uncertain or unknown outcome. There are failures as well as successes. Inspiration can start the process, but no matter how complete the initial idea, inventions typically have to be developed. Inventors are often famous for their confidence, their perseverance and their passion.

Improvement[link]

Inventors may, for example, try to improve something by making it more effective, healthier, faster, more efficient, easier to use, serve more purposes, longer lasting, cheaper, more ecologically friendly, or aesthetically different, lighter weight, more ergonomic, structurally different, with new light or color properties, etc.

Implementing Inventions[link]

Inventions get out into the world in different ways. Some are sold, licensed or given away as products or services. Simply exhibiting visual art, playing music or having a performance gets many artistic inventions out into the world. Believing in the success of an invention can involve risk, so it can be difficult to obtain support and funding. Grants, inventor associations, clubs and business incubators can provide the mentoring, skills and resources some inventors need. Success at getting an invention out into the world often requires passion for it and good entrepreneurial skills.^[11]

In economic theory, inventions are one of the chief examples of "positive externalities", a beneficial side-effect that falls on those outside a transaction or activity. One of the central concepts of economics is that externalities should be internalized—unless some of the benefits of this positive externality can be captured by the parties, the parties will be under-rewarded for their inventions, and systematic under-rewarding will lead to under-investment in activities that lead to inventions. The patent system captures those positive externalities for the inventor or other patent owner, so that the economy as a whole will invest a more closely optimum amount of resources in the process of invention.

Invention vs. innovation[link]

In the social sciences, an innovation is anything new to a culture, whether it has been adopted or not. The theory for adoption (or non-adoption) of an innovation, called diffusion of innovations, considers the likelihood that an innovation will ever be adopted and the taxonomy of persons likely to adopt it or spur its adoption. This theory was first put forth by Everett Rogers.^[12] Gabriel Tarde also dealt with the adoption of innovations in his Laws of Imitation.^[13]

Purposes of invention[link]

An invention can serve many purposes. These purposes might differ significantly and they may change over time. An invention, or a further-developed version of it, may serve purposes never envisioned by its original inventor(s) or even by others living at the time of its original invention. As an example, consider all the kinds of plastic developed, their innumerable uses, and the tremendous growth this material invention is still undergoing today.^[14]

Invention as defined by patent law[link]

This unreferenced section requires citations to ensure verifiability.

See also: patentability

The term invention is also an important legal concept and central to patent law systems worldwide. As is often the case for legal concepts, its legal meaning is slightly different from common usage of the word. Additionally, the concept of legal invention is quite different in American and European patent law.

In Europe, the first test patent applications are submitted to is: "is this an invention"? If it is, subsequent questions to be answered are whether it is new, and sufficiently inventive. The implication - rather counter intuitively - is that a legal invention is not inherently novel. Whether a patent application relates to an invention is governed by Article 52 of the European Patent Convention, that excludes e.g. discoveries as such and software as such. The EPO Boards of Appeal have decided that the technical character of an application is decisive for it to be an invention, following an age-old German tradition. British courts don't agree with this interpretation. Following a 1959 Australian decision ("NRDC"), they believe that it is not possible to grasp the invention concept in a single rule. A British court once stated that the technical character test implies a "restatement of the problem in more imprecise terminology".

In the United States, all patent applications are considered inventions. The statute explicitly says that the American invention concept includes discoveries (35 USC § 100(a)), contrary to the European invention concept. The European invention concept corresponds to the American "patentable subject matter" concept: the first test a patent application is submitted to. While the statute (35 USC § 101) virtually poses no limits to patenting whatsoever, courts have decided in binding precedents that abstract ideas, natural phenomena and laws of nature are not patentable. Various attempts were made to substantiate the "abstract idea" test, which suffers from abstractness itself, but eventually none of them was successful. The last attempt so far was the "machine or transformation" test, but the U.S. Supreme Court decided in 2010 that it is merely an indication at best.

Invention in the Arts[link]

Invention has a long and important history in the arts. Inventive thinking has always played a vital role in the creative process. ^[15] While some inventions in the arts are patentable, others are not because they cannot fulfill the strict requirements governments have established for granting them. (see patent).

Reinventing art[link]

Art is continuously reinvented. Many artists, designers, and architects think like inventors.^{[citation needed]} As they create, they may: explore beyond that which is known or obvious, push against barriers, change or discard conventions, and/or break into new territory. Breaking the rules became the most valued attribute in art during the 20th century, with the highest acclaim going to conceptual innovation which frequently involved the invention of new genres.

Inventions in art are new processes of creation, new mediums, and new art forms. Some visual artists like Picasso become inventors in the process of creating art. As the dialogue between Picasso and Braque brought about Cubism,^{[citation needed]} such collaborations spawn many inventions. Some inventions in visual art employ prior developments in science or technology. For example, Picasso and Julio Gonzalez used welding to invent a new kind of sculpture, the form of which could be more open to light and air. More recently, computer software has enabled an explosion of invention in visual art, including computer art, and advances in photography, film, architecture and design.

Examples of other inventions in art are:

• the collage and the construction invented by Picasso,
• the Readymade invented by Marcel Duchamp,
• the mobile invented by Alexander Calder,
• the combine invented by Robert Rauschenberg,
• the shaped painting invented by Frank Stella,
• and the motion picture, the invention of which is attributed to Eadweard Muybridge.^[17]

^[18]

Likewise, Jackson Pollock invented an entirely new form of painting and a new kind of abstraction by dripping, pouring, splashing and splattering paint onto unstretched canvas lying on the floor.

Inventive tools of the artist's trade also produced advances in creativity. Impressionist painting became possible because of newly invented collapsible, resealable metal paint tubes that facilitated spontaneous painting outdoors.^{[citation needed]} Inventions originally created in the form of artwork can also develop other uses, i.e. Alexander Calder's mobile which is now commonly used over babies' cribs. Funds generated from patents on inventions in art, design and architecture can support the realization of the invention or other creative work. Frederic Auguste Bartholdi's 1879 design patent on the Statue of Liberty helped fund the famous statue because it covered small replicas, including those sold as souvenirs.^[19]

List of artistic inventors[link]

Other artists, designers and architects who are or were inventors include:

• Filippo Brunelleschi
• Le Corbusier
• Naum Gabo
• Frederick Hart,
• Charles Eames,
• Louis Comfort Tiffany
• John La Farge
• Buckminster Fuller
• Walt Disney
• Man Ray
• Yves Klein
• Henry N. Cobb
• I. M. Pei
• Kenneth Snelson
• Helen Frankenthaler
• Chuck (Charles) Hoberman and
• Ingo Maurer.

Some of their inventions have been patented. Others might have fulfilled the requirements of a patent, like the Cubist image.

Further Reading[link]

Thinking portal

References[link]

Books on Invention[link]

External links[link]

Look up invention in Wiktionary, the free dictionary.

• List of PCT (Patent Cooperation Treaty) Notable Inventions (on the WIPO web site)
• Ulrich Hottelet: Invented in Germany - made in Asia , Asia Pacific Times, October 2007

Nick Holonyak, Jr.
Born	(1928-11-03) November 3, 1928 (age 83) Zeigler, Illinois
Residence	United States
Nationality	American
Fields	Electrical engineering
Alma mater	University of Illinois at Urbana-Champaign; BS 1950, MS 1951, PhD 1954
Doctoral advisor	John Bardeen
Notable awards	National Academy of Engineering (1973), National Academy of Sciences, National Medal of Science (1990), National Medal of Technology (2002), IEEE Medal of Honor (2003), Lemelson-MIT Prize (2004), National Inventors Hall of Fame (2008)

Nick Holonyak, Jr. (born November 3, 1928, in Zeigler, Illinois) invented the first practically useful visible LED in 1962 while working as a consulting scientist at a General Electric Company laboratory in Syracuse, New York and has been called "the father of the light-emitting diode".^[1] He is a John Bardeen Endowed Chair in Electrical and Computer Engineering and Physics and Professor of electrical and computer engineering at the University of Illinois at Urbana-Champaign where he has been since 1963.^[2]

Inventions[link]

In addition to introducing the III-V alloy LED, Holonyak holds 41 patents. His other inventions include the red-light semiconductor laser, usually called the laser diode (used in CD and DVD players and cell phones) and the shorted emitter p-n-p-n switch (used in light dimmers and power tools).^[3] He helped create the first light dimmer while at GE.^[1]

In 2006, the American Institute of Physics decided on the five most important papers in each of its journals since it was founded 75 years ago. Two of these five papers, in the journal Applied Physics Letters, were co-authored by Holonyak. The first one, coauthored with S. F. Bevacqua in 1962, announced the creation of the first visible-light LED. The second, co-authored primarily with Milton Feng in 2005, announced the creation of a transistor laser that can operate at room temperatures. Holonyak predicted that his LEDs would replace the incandescent light bulb of Thomas Edison in the February 1963 issue of Reader's Digest,^[4] and as LEDs improve in quality and efficiency they are gradually replacing incandescents as the bulb of choice.

Background[link]

Holonyak's parents were Ukrainian immigrants who settled in Southern Illinois; Holonyak's father worked in a coal mine. Holonyak was the first member of his family to receive any type of formal schooling.^[3] He once worked 30 straight hours on the Illinois Central Railroad before realizing that a life of hard labor was not what he wanted and he'd prefer to go to school instead. According to Knight Ridder, "The cheap and reliable semiconductor lasers critical to DVD players, bar code readers and scores of other devices owe their existence in some small way to the demanding workload thrust upon Downstate railroad crews decades ago."^[5]

Holonyak was John Bardeen's first Ph.D. student at the University of Illinois at Urbana-Champaign.^[6] He received his undergraduate, master's, and Ph.D. (1954) from the same university.^[3] He created the first visible semiconductor lasers in 1960. In 1963, he again joined Dr. Bardeen, the co-inventor of the transistor, at the University of Illinois and worked on quantum wells and quantum-well lasers.

University of Illinois[link]

As of 2007, he is the John Bardeen Endowed Chair Professor of Electrical and Computer Engineering and Physics at the University of Illinois at Urbana-Champaign^[3] and is investigating methods for manufacturing quantum dot lasers. He has been married to his wife Katherine for 51 years. He no longer teaches classes, but he researches full-time. He and Dr. Milton Feng run a transistor laser research center at the University funded by $6.5 million from the United States Department of Defense through DARPA.^[4]

10 of his 60 former doctoral students develop new uses for LED technology at Philips Lumileds Lighting Company in Silicon Valley.^[1]

Awards and honors[link]

Holonyak has been presented awards by George H.W. Bush, George W. Bush, Emperor Akihito of Japan and Vladimir Putin.^[3]

In 1989, Holonyak received the IEEE Edison Medal for 'an outstanding career in the field of electrical engineering with contributions to major advances in the field of semiconductor materials and devices.' Holonyak's former student, Russell Dupuis from the Georgia Institute of Technology, won this same award in 2007.^[3]

In 1995, he was awarded the $500,000 Japan Prize for 'Outstanding contributions to research and practical applications of light emitting diodes and lasers.'^[4]

In 2003, he was awarded the IEEE Medal of Honor.

He has also received the Global Energy International Prize, the National Medal of Technology, the Order of Lincoln Medallion, and the 2004 Lemelson-MIT Prize, also worth $500,000.^[4] He has also received the Frederic Ives Medal of the Optical Society of America.^[5]

Many colleagues have expressed their belief that he deserves the Nobel Prize for his invention of the LED. On this subject, Holonyak says, "It's ridiculous to think that somebody owes you something. We're lucky to be alive, when it comes down to it."^[3]

On 9 November 2007, Holonyak was honored on the University of Illinois campus with a historical marker recognizing his development of the quantum-well laser. It is located on the Bardeen Engineering Quadrangle near where the old Electrical Engineering Research Laboratory used to stand.^[7]

In 2008, he was inducted into the National Inventors Hall of Fame (Announced February 14, 2008) (May 2–3, 2008 at Akron, Ohio).^[8]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Nick Holonyak

• IEEE Legacies
• Nick_Holonyak-Jr US National Medal of Technology, 2002.
• Oral History interview transcript with Nick Holonyak 23 March 2005, American Institute of Physics, Niels Bohr Library and Archives

Hans Jorgen Fjellestad (born 2 May, 1968) is a musician and filmmaker based in Los Angeles. Fjellestad co-founded the Trummerflora Collective, and has worked as a curator/producer for the international art initiative, inSite 05. A classically trained pianist, he studied music composition and improvisation at University of California, San Diego. Fjellestad has composed for film, video, theater, dance and has toured with his music and film work throughout the U.S., Canada, Europe, Australia, Japan, Mexico and Brazil.

Film career[link]

He is best known as the director of Moog (2004), the feature-length documentary on synthesizer pioneer Robert Moog. He is also credited as producer, writer and editor. Fjellestad's previous film Frontier Life (2002) is a documentary feature that explores the world of Tijuana, Mexico, with a focus on the vibrant electronic music scene thriving there. Fjellestad began working on film, television and multimedia projects in the mid-1990s. He directed/edited music videos and enhanced cd content for the likes of Soundgarden, John Lydon, the Monkees and Terence Trent D'Arby. In 2000, partnering with producer Ryan Page, he started the Los Angeles-based independent film production firm ZU33, which develops music-oriented film projects.

Music career[link]

As a musician, Fjellestad has an extensive discography both as a solo artist and in collaboration with many musicians in the international experimental music scene including Muhal Richard Abrams, George Lewis, Peter Kowald, Lé Quan Ninh, Lisle Ellis, Haco, Miya Masaoka, Money Mark, Trummerflora Collective, Thomas Dimuzio, Tetsu Saitoh, David Slusser, Baiyon, Kazuhisa Uchihashi, Jakob Riis, P.O. Jørgens, Carl Bergstrøm-Nielsen, Mike Keneally, Nortec Collective, among many others. His music is available on Hollywood Records, Accretions Records, Circumvention Music, Brain Escape Sandwich, Barely Auditable Records, Pan Handler and Vinyl Communications.

Fjellestad usually records and performs under his own name, but has sporadically employed his alter-ego 33, as with recent performances at The Roxy in Prague and Bimbo's 365 Club in San Francisco. His track "Abominatron" on the Moog original film soundtrack (on Hollywood Records) is credited as 33. Strangely, 33 is also the title of Fjellestad's 2003 solo cd (on Accretions Records), making the artist's intentions behind the moniker somewhat unclear.

Fjellestad began playing the piano in 1973, at age 5. He first encountered the synthesizer (a Minimoog model D) three years later and has been fascinated by both instruments ever since. His music is often characterized as experimental, avant-garde, free jazz or outside electronica.

Kobe Live House (on Accretions Records) was released in February 2006 and is a prime example of how the keyboardist approaches his unconventional mix of acoustic and electronic sounds. Recorded live on October 17, 2003, at Big Apple (a jazz club in Chūō-ku, Kobe, Japan) the concert was part of the club's 14th Anniversary Special Concert Series. Both sets are unedited and appear as they did the night of the show in Kobe, performed with a grand piano, Nord Lead 3 synthesizer and a custom software instrument programmed in MaxMSP. More recently his music projects in the studio and on the stage are produced almost entirely on analog electronic instruments (mainly Moog).

References[link]

External links[link]

• Hans Fjellestad official website.
• ZU33.
• Accretions Records.
• Moog film official website.
• Trummerflora Collective.
• inSite 05.