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Charlie often thinks of inventions that seldom work, but his latest idea just might be able to help Jake the Sweeper get rid of a big pile of trash and save \"Come as a Character\" day, too.

This chapter contains sections titled: Hawthorne: A Portrait of an Artist Hawthorne and the Historical Tale Hawthorne Beyond History References and Further Reading

\"Charlie has lots of ideas. Need something to go sky high? Ah-ha! The zinger-winger! Need to launch a cheese popper into soup? The amazing popper-upper! But the zinger-winger zings more than wings and the popper-upper plops. Charlie isn't allowed to invent for a week. Meanwhile, the afterschool invention fair is coming up. He needs time to make something special. Good thing he has his friends and Mr. Redfern, another inventor, to help him out\"-- Provided by publisher.

This Article reveals the surprising role of patent law in shaping the literary genre of science fiction. Drawing on previously unpublished sources, the Article shows that Hugo Gernsback— the so-called “father” of science fiction who started the first all-science-fiction magazine in 1926—believed that works of science fiction are analogous to patents. Like patents, science fiction stories can disclose useful information to the public about new inventions. Like patents, science fiction stories can influence future inventors and drive innovation. Gernsback went even further, positing that some of the inventions depicted in science fiction should themselves be patentable. In 1952, he urged Congress to reform the Patent Act to make so-called “Provisional Patents” available to science fiction authors who depicted major technological developments before their time. He argued that science fiction authors who filed for Provisional Patents should get an extra thirty years in which to show their invention worked. If they could do so, they would thereafter be able to obtain an ordinary patent, to last another twenty years. Many will find Gernsback’s proposal deeply problematic from the perspective of patent policy, and rightly so. Granting patent rights too early in an invention’s lifecycle creates new and unjustified opportunities to hold up innovation. A science fiction author who obtained a Provisional Patent for a theoretical invention could crawl out of the woodwork half a century later and sue the very people who figured out how to make the invention work. Gernsback’s ideas for patent reform were half-baked and, the Article shows, probably self-serving. Nonetheless, exploring the connection he cultivated between patents and science fiction yields many surprising insights for science fiction and for innovation policy. Science fiction has more in common with patents than it might seem. Although science fiction does not typically impart enough information to “enable” others to make and use the inventions it describes, science fiction can inspire readers and supply them with a motivation—in Gernsback’s words, a “stimulus”—to implement science fictional inventions in the real world. Science fiction, like patents, can play a role in promoting innovation.

Prophetic examples may unnecessarily distort understanding Although it may surprise scientists, one can receive a patent in many jurisdictions without implementing an invention in practice and demonstrating that it works as expected. Instead, inventors applying for patents are allowed to include predicted experimental methods and results, known as prophetic examples, as long as the examples are not written in the past tense ( 1 – 3 ). Allowing untested inventions to be patented may encourage earlier disclosures about new ideas and provide earlier certainty regarding legal rights—which may help small firms acquire financing to bring their ideas to market. Yet granting patents too early may also discourage researchers from doing the work to bring ideas to fruition ( 4 , 5 ). Even if allowing untested inventions to be patented is desirable, we think prophetic examples deserve closer scrutiny, and clearer labeling, because of the likelihood that they are unnecessarily confusing—particularly to scientists, many of whom read patents but are unlikely to appreciate that not all the claims are based on actual data.

Father and son inventors explore a cave using a new invention, the cat-eye vest.

In this article, we present reflections on the possible dialogs between literary creation and science teaching. Our considerations will be directed to the work of Mary Shelley, Frankenstein, and the role of science and science education over the text that gave rise to the genre “science fiction.” This work aims at presenting the possibilities of using Shelley’s work in order to explore historical, methodological, conceptual, social, and political implications that may be useful for motivating reflection in teaching science in the classroom in times of “post-truth.” In order to do this, we base our notes on the conceptions of Science, Technology, and Society (STS); in rationality and reasonability; in aspects of bioethics; and on the man–machine implications according to the scientific community in the educational field. In addition to the pedagogical mediation of concepts by the teacher, we seek to look at different strategies as alternatives for pedagogical action in science teaching, through dialog.

In Washington, D.C., Lucy Rose's friend Adam \"Melonhead\" Melon, a budding inventor with a knack for getting into trouble, enters a science contest that challenges students to recycle an older invention into a new invention.

Purpose>The following article is a “Q&A interview” conducted by Joanne Pransky of Industrial Robot Journal as a method to impart the combined technological, business and personal experience of a prominent, robotic industry PhD-turned successful innovator and entrepreneur regarding turning his lifelong dream into an invention and commercialized product. This paper aims to discuss these issues.Design/methodology/approach>Harry Kloor is a successful serial entrepreneur, scientist, technologist, educator, policy advisor, author and Hollywood filmmaker. He is the CEO and co-founder of Beyond Imagination, a company that has developed a suite of exponential technology solutions that deploys artificial intelligence (AI), AR, robotics, machine learning and human–computer interaction technology to enhance and revolutionize the world’s workforce. The company early in 2021 completed BEOMNI 1.0, the world’s first fully functional humanoid robotic system with an AI evolving brain, enabling remote work at a high level of fidelity to be done from around the globe. Kloor describes how he transformed his childhood dream into his brainchild and tangible reality.Findings>Kloor was born a groundbreaker who did not take no for an answer. He was born partially crippled with his legs facing backwards. The doctors said that he would spend his life in braces and would never be able to run. His parents told him not to let those ideas limit him and by the age of seven he ran for the first time and went on to become a martial arts master. Kloor’s childhood dream was to create ways to leave his body and inhabit a robotic body so that he could physically be free from his limited mobility. Kloor built his first computer at the age of seven and invented his first product at the age of eight. Kloor's inspiration to study science came largely from science fiction and his 20,000-plus collection of comic books. Knowing the nature of exponential growth, he spent the next 40 years building the expertise, relationships, networks and experience in all areas of exponential technology. Kloor obtained a BA from Southern Oregon State College, an MEd from Southern Oregon University and two simultaneous PhDs, one in chemistry and one in physics, from Purdue University. Kloor co-founded the company Universal Consultants, where he served as chief science consultant, providing guidance to clients in the development of new technological products, patents and policy positions. Kloor was the founder of Stem CC Inc. – a stem cell company that was sold in 2018 to Celularity, one of the world’s most cutting edge clinical-stage cell therapeutics company. Kloor is also the founder and president of Jupiter 9 Productions and is a credited film writer, director and producer. Since his graduation from Purdue University, he has written for Star Trek: Voyager and was the story editor for Gene Roddenberry’s Earth: Final Conflict, a series he co-created/developed. Kloor helped create Taiwan’s animation industry, bringing Quantum Quest: A Cassini Space Odyssey, the first big animation film that starred major Hollywood stars, to Taiwan. Kloor also sits on the board of Brain Mapping and Therapeutics Society and serves as their Chief Scientific Advisor and Educational Outreach Coordinator.Originality/value>Kloor is a “creative consultant and universal problem solver, with an emphasis in technology and education.” Kloor has worked with Dr Peter Diamandis since the first class of the International Space University in 1988. Kloor was one of the five founding team members of XPRIZE serving as its CSO until 2005 and was one of the founders of the Rocket Racing League. He was on the founding team of Singularity University and taught at Singularity’s first summer program. In 2016 he created the $10m Avatar XPRIZE, and in 2018 he co-created the Carbon Extraction XPRIZE which obtained the largest incentive prize in history, a $100m, funded by Elon Musk and the Musk Foundation. Kloor is the only person in world history to earn two PhDs simultaneously in two distinct academic disciplines. In recognition of this achievement, he was named ABC World News’ Person of the Week in August 1994. Kloor has received numerous awards, including The Golden Axon Award from the Society for Brain Mapping & Therapeutics. He has recently created the Kloor Cycle, a four-stage experiential autonomous learning process within Beomni’s “AI Brain,” adapted from Kolb’s Learning Cycles.