A patent is an exclusive right granted by a government to a person for
a fixed period in exchange for a public disclosure of enabling details
of a device, method, process or composition of matter, or substance,
known as an invention that is new, inventive and useful, and enabling
an average person to build the invention.
The exclusive right granted an inventor is the right to prevent others
from building and making a commercial use of the claimed invention, but
does not preclude other individuals from a personal use of the device.
Most countries have rigid requirements as to what must comprise a
patent and its application. The patent application must be eloquent
enough, but must not yet disclose the essentials of the invention,
which are to be disclosed in the forthcoming parts of the patent.
Another critical part of a patent application is the discussion of the
prior art. The inventor must show the required usefulness by
emphasizing the shortcomings of devices available heretofore, or the
lack of devices or methods, which would alleviate or fulfill the
commercial or public need. The prior art section must not prematurely
disclose the invention, which is disclosed in the later sections.
The next section is the summary of the invention, which is a plain
language version of claims, which are written in a very legalese,
strict language.
The next section, the description of embodiments, fulfills the enabling
requirement of the application. The section must narrate the
construction, structure, the method of use, and functioning of the
device, its components, subsystems, and discuss any possible variations
in the shape, materials, critical dimensions, and any other unique
features of the invention. The narrative must follow the numbering of a
black-and-white drawing accompanying a patent, where all discussed
parts must be clearly numbered.
The claims section must be composed of nested claim groups centered on
independent claims. For example, if an invention is a flashlight
attachable to a car, and is also a flashlight permanently attached to
another object, the claims would contain two independent claims, each
describing a mode of the flashlight mounting. Similarly, if an
invention contains an optional part, which is also uniquely inventive,
the claims for the device will have at least two independent claims.
In other words, each critical inventive aspect of an invention can be
protected by an independent claim. Thereafter, dependent claims,
written following an independent claim. The language of claims is
unique and terse. A claim begins with a legally non-binding preamble,
and is followed with the actual body of outlined claims. Very often,
the preamble will contain as many words as possible needed to set up,
or describe the device, on order to spare a patent writer to introduce
too many words in a legally sensitive claim outline. Skilled use of
technical synonyms, and, most importantly, indefinite and definite
articles, will claim the maximum possible inventive territory for the
patent. Both the strictness of the claim language and the fear of
self-limiting often make the claims devoid of the either-or modes of an
invention.
Finally, the last part of a patent application is an abstract, which is
a non-legal reiteration of the first independent claim written in a
plain language.
Monday, January 7, 2008
Friday, January 4, 2008
Camille Paglia, the Persona
Whenever Camille Paglia's turns out another study of the Western
Culture, she succeeds in aggravating a wide spectrum of intellectuals.
Paglia's discovery that women's reproductive powers naturally bind them to men upsets feminist intellectuals.
She says that Ayn Rand-like capitalism has freed women from bondage to men, and she makes Leftists boil with indignation.
When she associates homosexual aestheticism with some of the
most despotic systems and shows that gay men's love of all things
masculine is idolatry, she is sure to ruin their day.
She crumples the most sacred institutions of Church and State
— because it is a male attempt to smother natural female forces, the
conservatives will grumble.
Paglia's claims that the great world we call Western Culture is
nothing more than social manifestations - through literature, art,
political and religious institutions - of men's phobia of mysteries
that lurk within women's vaginas and, consequently, of women's
emotional attempts to conquer their penises. By conquering nature, men
try to counter-conquer women, sex, and everything that resists being
bottled up by intellect.
Paglia points out that the penis, unlike the vagina, is external,
hence visual; it is linear, it can be measured, compared, formulated.
The vagina, on the other hand, is ambiguous, striking in color,
impossible to quantify or architecturally simulate.
Paglia holds that nature does not conform to the laws of man, of
culture. Man sees uncontainable nature in woman, in the liquids that
flow from her genitalia during sex and menstruation, from her breasts
after childbirth, and he is threatened, even while deeply drawn to that
very object which he lacks and finds fascinating. Man turns toward the
sky, toward Greek gods, and invests his faith in transcendental logic. The
male ego is a sexual persona that replicates itself in phallic
monuments and skyscrapers, stairways to the sky, to the sun, to heaven,
in religious doctrines that designate women as the servants of men, as
shrews are to be tamed. By controlling women, men are attempting to
control nature, the ultimate representation of power. Deep down they
know that, like their own penises that shrivel into a flaccid strands
of flesh once orgasm has been achieved, their own power is fleeting.
Therefore, they fight the futile war and wreck Western Culture further
into spectacular carnage.
Paglia's language is intellectually powerful and colorful, and
together with her uncanny, perfect grasp of art history proudly
saturates the book with all things that are Paglia.
Culture, she succeeds in aggravating a wide spectrum of intellectuals.
Paglia's discovery that women's reproductive powers naturally bind them to men upsets feminist intellectuals.
She says that Ayn Rand-like capitalism has freed women from bondage to men, and she makes Leftists boil with indignation.
When she associates homosexual aestheticism with some of the
most despotic systems and shows that gay men's love of all things
masculine is idolatry, she is sure to ruin their day.
She crumples the most sacred institutions of Church and State
— because it is a male attempt to smother natural female forces, the
conservatives will grumble.
Paglia's claims that the great world we call Western Culture is
nothing more than social manifestations - through literature, art,
political and religious institutions - of men's phobia of mysteries
that lurk within women's vaginas and, consequently, of women's
emotional attempts to conquer their penises. By conquering nature, men
try to counter-conquer women, sex, and everything that resists being
bottled up by intellect.
Paglia points out that the penis, unlike the vagina, is external,
hence visual; it is linear, it can be measured, compared, formulated.
The vagina, on the other hand, is ambiguous, striking in color,
impossible to quantify or architecturally simulate.
Paglia holds that nature does not conform to the laws of man, of
culture. Man sees uncontainable nature in woman, in the liquids that
flow from her genitalia during sex and menstruation, from her breasts
after childbirth, and he is threatened, even while deeply drawn to that
very object which he lacks and finds fascinating. Man turns toward the
sky, toward Greek gods, and invests his faith in transcendental logic. The
male ego is a sexual persona that replicates itself in phallic
monuments and skyscrapers, stairways to the sky, to the sun, to heaven,
in religious doctrines that designate women as the servants of men, as
shrews are to be tamed. By controlling women, men are attempting to
control nature, the ultimate representation of power. Deep down they
know that, like their own penises that shrivel into a flaccid strands
of flesh once orgasm has been achieved, their own power is fleeting.
Therefore, they fight the futile war and wreck Western Culture further
into spectacular carnage.
Paglia's language is intellectually powerful and colorful, and
together with her uncanny, perfect grasp of art history proudly
saturates the book with all things that are Paglia.
Wednesday, January 2, 2008
Shvoong Links
grc.com - free software from a professional Google Desktop Vulnerability Article Summary Портной из Панамы Wallace Stevens, a Biography Walking on Glass Kabbalah The Night Manager The Elegant Universe brian greene Source Last Minute Sermons Summary Охотничая Лошадь: Факты в деле шпионажа Jonathan Jay Pollard Arukh Hashulkhan Summary The Road Since Structure: Philosophical Essays Summary Running With Scissors Непревзойденный Шпион Tinker, Tailor, Soldier, Spy Typorganism.com - Microwave: Fun Experiments Summary Patent And Patent Application Summary Three-Dimensional Searching Секретный Пилигрим Shulkhan Arukh Summary Mishneh Torah Summary The Tailor of Panama Spycatcher shortnews.com Windows XP Annoyances for Geeks, a book and a site Freepatentsonline.com Summary What Google Can't Find Stellarium Astronomy Software Arba'ah Turim Summary John Barth, a Biography Thomas Pynchon, a Biography - Porn Free Summary Sexual Personae Summary Googlism - a fun way to search for opinion Spy Magazine of Satire
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