thomas jefferson polygraph

Thomas Jefferson’s “polygraph” device. Today it would be more properly called a pantograph – a tool traditionally used by draftsmen and scientists to reduce and enlarge drawings.

The following post is excerpted from Design Decoded.

President Obama was in Hawaii when he signed the fiscal cliff deal in Washington D.C. Of course, it’s now common for us to send digital signatures back and forth every day, but the President of the United States doesn’t just have his signature saved as a JPEG file like the rest of us lowly remote signatories. Instead, he uses the wonder that is the autopen – a device descended from one of the gizmos in Thomas Jefferson’s White House.

A precursor of sorts to the  autopen, the polygraph, was first patented in 1803 by John Isaac Hawkins and, within a year, was being used by noted early adopter Thomas Jefferson. Known formally as the “Hawkins & Peale’s Patent Polygraph No. 57,” this early copy device was used by Jefferson to make single reproductions of documents as he was writing them. Though obviously less advanced than today’s electronic autopen, and used for a different purpose, the polygraph is similar in that it ultimately created a signature that wasn’t technically written by the President. While both devices are incredibly convenient, they raise a compelling question: is a signature still a signature when it’s not written by hand?

Digital media theorist and architectural historian Mario Carpo has written extensively on the relationship between early reproduction methods and modern digital technologies. In his excellent book, The Alphabet and the Algorithm, Carpo notes that ”like all things handmade, a signature is a visually variable sign, hence all signatures made by the same person are more or less different; yet they must also be more or less similar, otherwise they could not be identified. The pattern of recognition is based not on sameness, but on similarity.” That statement may seem obvious, but it’s important. The variability of a signature denotes its authenticity; it reflects the time and place a document was signed, and perhaps even reveals the mood of the signatory. A digital signature, however, has no variability. Each signature –one after another after another– is exactly like the last. Although the modern autopen includes adjustable settings for speed and and pressure, these options are used for practical purposes and variability is only created as a side-effect. Today, the notion of a signature as a unique, identifiable mark created by an individual, is a concept that may be changing. The signature of a historic figure is no longer a reliable verification of authenticity that attests to a specific moment in history, but a legal formality.

[continue reading at Design Decoded]

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