I'm a strong supporter behind the "analogous art case law is garbage" movement. Why? Half the case law is looking at stuff that isn't even in the claim.
Maybe if you took your inventor, his field of endeavor, and the problem he was addressing, and then stuck that in the claim. Then you might have an argument that my art isn't analogous because it's in a different field or solving a different problem.
To me it makes more sense to compare the "analogous of art" between the prior art references in an obviousness rejection, than comparing them to some random fact about the inventor.
These are two good points, although I don't agree quite as much as you do. For example, even if a claim doesn't recite every aspect and advantage of an invention (independent claims are intentionally worded broadly), it can
still be very clear that a reference has nothing to do with the problem that the inventor is addressing.
The analogous art doctrine is absolutely fascinating for a variety of reasons:
1. it is extremely potent - when it succeeds (which is rare) it doesn't just render the particular kind of combination invalid - it renders the entire reference inapplicable to the application. It is like flipping the clock on the reference's publication/filing date to remove it from prior art.
2. it is in great tension with KSR. KSR did not explicitly abolish the analogous art doctrine (and it explicitly approved the teaching away doctrine). But it did state:
"When a work is available in one field of endeavor, design incentives and other market forces can prompt variations of it, either in the same field or a different one."
And this is the quote that APJs cite when they reject analogous art arguments - which they do about 95% of the time it is attempted (according to my last measurement).
And yet:
A. the Federal Circuit continues to apply the doctrine - see In re Klein
B. the statement here, in KSR, appears to be limited to the "design incentives and other market forces" rationale in KSR - See MPEP 2143 (F)
C. the non-analogous art focuses on the inventor's problem that the invention addresses - yet KSR says "The first error of the Court of Appeals in this case was to foreclose this reasoning by holding that courts and patent examiners should look only to the problem the patentee was trying to solve." It is not clear how much the non-analogous art argument survives that statement.
D. the statement here, in KSR, assumes that the person of ordinary skill in the art actually knows that the reference exists - which begs the entire question against the proponent of the non-analogous art argument. I would argue that, accordingly, KSR says virtually nothing about the non-analogous art doctrine.
3. Which brings me to the third point: the PHOSITA cannot be omniscient. KSR itself tried to use a more realistic approach to obviousness, not a less realistic. The non-analogous art argument itself is attempting to make the PHOSITA less than omniscient of all 102 prior art. It does a very, very poor job - even after we remove all non-analogous art, the PHOSITA, under U.S. law, is still semi-omniscient, and has instant recall of a zillion-times more prior art than a flesh-and-blood human being. But it is better than nothing.
The problem is drawing the line: where do we draw the line between the omniscient PHOSITA and the semi-omniscient PHOSTITA? The doctrine is so potent that courts and the PTO are reluctant to use it. But clearly there should be some limit on the scope of 102 art that the PHOSITA would realistically, or reasonably, know at the time of invention (or the time of filing - after patent reform kicks in).