WEBVTT - How Steganography Works

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<v Speaker 1>Get in touch with technology with text stuff from dot com. Kaiser, Everyone,

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<v Speaker 1>and welcome to tex Stuff. I am Jonathan Strickland, your

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<v Speaker 1>beloved host. Today I have a special guest in the studio,

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<v Speaker 1>a dear friend of mine, someone I have worked with

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<v Speaker 1>on stage and another podcasts and radio plays, Ariel Kristen caston.

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<v Speaker 1>Welcome to tex Stuff. Hi everybody, thank you for letting

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<v Speaker 1>me be on tech Stuff. Jonathan, I'm super excited. I'm

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<v Speaker 1>very excited to Ariel and I we we've been friends

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<v Speaker 1>for more than a decade. Now, oh man, make me

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<v Speaker 1>feel old. Oh well, joined the club. So Ariel, I

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<v Speaker 1>asked her what she wanted to cover. She told me

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<v Speaker 1>that we could cover whatever we wanted. So I looked

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<v Speaker 1>back and there was an email message that was sent

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<v Speaker 1>in a listener request. Peter sent this in via email,

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<v Speaker 1>and this is an ancient listener request, folks. So, Peter,

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<v Speaker 1>I apologize that it took so long for us to

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<v Speaker 1>get there, but I'm really excited that we get to

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<v Speaker 1>cover it today. Here's what Peter wrote. He said, I

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<v Speaker 1>recently bought a book called Data Hiding that is about steganography.

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<v Speaker 1>I look to see if this is something you have

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<v Speaker 1>covered but found you had not. I think that this

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<v Speaker 1>would be an extremely interesting topic. You would be able

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<v Speaker 1>to cover the ways in which data can be hidden,

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<v Speaker 1>as well as who uses such techniques like al Qaeda,

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<v Speaker 1>the n s A, malware, authors, hobbyists, et cetera. Yeah,

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<v Speaker 1>we're going to cover steganography, which is not what I

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<v Speaker 1>originally thought it was. I originally thought it was the

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<v Speaker 1>study of stegasaurasaurs. Yeah, I thought it was the study

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<v Speaker 1>of dinosaur calligraphy. So we were both on the wrong track,

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<v Speaker 1>as it turns out. Uh yeah, So what actually is steganography. Well,

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<v Speaker 1>steganography is the art of hiding something within something else.

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<v Speaker 1>It can be simple, like a hidden message in a

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<v Speaker 1>painting or photograph, or it can be something really complicated,

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<v Speaker 1>like an electronic file or message hidden in another file

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<v Speaker 1>or message. Yeah. Yeah, So it's essentially the the art

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<v Speaker 1>of being able to send a message without people even

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<v Speaker 1>knowing that you've done so, right, That's that's the goal

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<v Speaker 1>of steganography. So the parties in steganography there there are,

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<v Speaker 1>you know, this is how we break it down. You've

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<v Speaker 1>got the sender, that's the person who's created the message

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<v Speaker 1>and wants to communicate something you have the receiver, which

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<v Speaker 1>is the person who the message is intended to go to.

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<v Speaker 1>You have the carrier message, which is the the the

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<v Speaker 1>construct that hides the secret message. So this could be

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<v Speaker 1>whatever like, it could be a painting, the boring note

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<v Speaker 1>about your cousin's children, or it could be a soccer

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<v Speaker 1>ball that happens to have a secret asage written on

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<v Speaker 1>the inside of it. Wilson was a secret it could

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<v Speaker 1>be that Wilson in Castaway was in fact a stagana Graham,

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<v Speaker 1>which is the other element. So, by the way, there

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<v Speaker 1>are a lot of Greek words and Greek names and

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<v Speaker 1>some Roman names, so Latin as well. That's going to

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<v Speaker 1>be all of those are gonna be popping up. There

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<v Speaker 1>also a couple of other names from other cultures. I'm

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<v Speaker 1>an ignorant American, so my pronunciation is going to be awful,

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<v Speaker 1>and I can barely grasp the American language, which I've

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<v Speaker 1>grown up with all my life, so mine will be worse. Yeah,

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<v Speaker 1>So just just letting you guys know that ahead of time.

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<v Speaker 1>So the staganogram, I'm never going to get that, otherwise

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<v Speaker 1>known as the secret message. We're just gonna I'm going

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<v Speaker 1>to call it secretsages from now on and then potentially

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<v Speaker 1>third parties. So, in other words, people who might come

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<v Speaker 1>into contact with this message. The goal is to make

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<v Speaker 1>sure that those third parties are never aware that there

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<v Speaker 1>is a message there in the first place, and if

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<v Speaker 1>it's done right, they won't be Yeah. So in other words,

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<v Speaker 1>you could have a messenger, a go between carry this

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<v Speaker 1>thing from one person to the other and never know

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<v Speaker 1>that there was something hidden in there. Although sometimes it's

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<v Speaker 1>good if they're confident, because you need to get a

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<v Speaker 1>message to the person who needs to decipher it on

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<v Speaker 1>how to decipher it right, right. If the person who

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<v Speaker 1>receives the message isn't aware of the method to find it,

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<v Speaker 1>it doesn't do them a lot of good. So if

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<v Speaker 1>if you have been able to collude with your receiver,

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<v Speaker 1>like if I'm sending a message to Ariel, and Ariel

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<v Speaker 1>and I have decided ahead of time, Hey, if I

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<v Speaker 1>ever need to send you a message, this is how

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<v Speaker 1>I'm going to do it, and this is how you're

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<v Speaker 1>going to see what the message is, then we're okay.

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<v Speaker 1>But if if it's a situation where Ariel and I

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<v Speaker 1>have been separated for a long time and I need

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<v Speaker 1>to send her a message and I needed to be secret.

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<v Speaker 1>I've got to figure out a way to give her

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<v Speaker 1>instructions as to how to retrieve that message. And sometimes

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<v Speaker 1>that involves, you know, paying somebody, like just tell her

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<v Speaker 1>to wash the wax off and we'll explain what that

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<v Speaker 1>means a little bit later. So they're wash the wax off,

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<v Speaker 1>it's good advice to live by their Yeah, sure, yeah,

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<v Speaker 1>I mean just in general. So we've got the elements here.

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<v Speaker 1>Those are your basic elements to to have. Steganography actually

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<v Speaker 1>makes sense, and now we need to talk about the

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<v Speaker 1>difference between that and a related art cryptography, which, yes,

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<v Speaker 1>cryptography is the art of making and solving codes. Uh,

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<v Speaker 1>but anybody can see that it's a code. Right, So

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<v Speaker 1>if I send a coded message to Arial, it may

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<v Speaker 1>be that any third party can't see what the message is,

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<v Speaker 1>but they know I'm trying to communicate to her. Yeah,

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<v Speaker 1>because why else would he send me a piece of

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<v Speaker 1>paper that says music of viage Unless I've just fallen

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<v Speaker 1>asleep at my keyboard, Then clearly I'm trying to say something,

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<v Speaker 1>so and then I'm just wasting my time trying to decipherate. Right,

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<v Speaker 1>So cryptography keys in people that something's going on. It

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<v Speaker 1>lets people know there's some sort of communication. And uh.

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<v Speaker 1>You might have a pretty simple type of code, like

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<v Speaker 1>a simple cipher where you know the old classic, uh,

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<v Speaker 1>substitution cipher, where you substitute one letter for another, the

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<v Speaker 1>simplest being let's shift all the letters over by one.

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<v Speaker 1>So and uh, whenever I write the letter B, I

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<v Speaker 1>really mean the letter A. Whenever I write the letter C,

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<v Speaker 1>I really mean the letter B. This is what's called

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<v Speaker 1>a really bad cipher. It's easy to figure out. I

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<v Speaker 1>don't know when I try to do the cryptograms in

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<v Speaker 1>puzzle books, has such a hard time, And it's the

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<v Speaker 1>same thing. Well, sometimes a substitution cipher can get a

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<v Speaker 1>little more complicated. So for example, when you substitute one

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<v Speaker 1>letter for another, then the next time you substitute a letter,

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<v Speaker 1>you actually shift over again. So in other words, the

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<v Speaker 1>first time you only shift over one letter, the second

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<v Speaker 1>time you shift over two letters, the third time you

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<v Speaker 1>shift over three letters. So if you know the algorithm,

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<v Speaker 1>if you know the pattern, then when you get the message,

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<v Speaker 1>you can reverse that and you know to look for it.

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<v Speaker 1>If you don't know the pattern, then you have to

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<v Speaker 1>spend more time trying to figure out what the pattern is.

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<v Speaker 1>And while that still is a fairly simple example, things

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<v Speaker 1>like the um the Enigma machine in World War Two,

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<v Speaker 1>which was the Germans way of sending coded messages. They

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<v Speaker 1>had this machine that had three different the basic one,

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<v Speaker 1>I had three different dials that they would set, and

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<v Speaker 1>then I had a typewriter and a bunch of lamps,

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<v Speaker 1>and when you pressed down a key of a letter,

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<v Speaker 1>a lamp would light up, indicating a different letter. So

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<v Speaker 1>let's say I typed the letter E to type in Enigma,

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<v Speaker 1>but the letter for in lights up. Then it would

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<v Speaker 1>actually go a certain number of steps, so that the

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<v Speaker 1>next letter I type would be a totally unpredictable letter.

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<v Speaker 1>If I didn't have an Enigma machine of my own. Well,

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<v Speaker 1>that's really good, because if I tried to write a cipher,

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<v Speaker 1>I would totally lose place of where I was if

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<v Speaker 1>I was constantly shifting the letter yeah, and my message

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<v Speaker 1>would be nonsensical, both decrypted and encrypted. Yeah, exactly, that

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<v Speaker 1>that is. That's the reason why the Germans were using

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<v Speaker 1>a machine so that way it could be predictable. But

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<v Speaker 1>only if both parties had the same style of Enigma

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<v Speaker 1>machine and they both knew what the initial settings were,

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<v Speaker 1>so part of the communication would include a a key

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<v Speaker 1>saying this is what you need to set it to.

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<v Speaker 1>Although technically they were all supposed to have a communication

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<v Speaker 1>telling them what settings to use each day, and they

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<v Speaker 1>were never supposed to repeat those settings. Eventually people got

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<v Speaker 1>lazy and that's how those codes were eventually broken by

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<v Speaker 1>Alan Turing, which you can see in that film The

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<v Speaker 1>Imitation Game, The Imitation Game exactly. So steganography obviously is

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<v Speaker 1>different from cryptography, and that yes, you're still sending secret messages,

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<v Speaker 1>but the message itself, the existence of the message is secret.

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<v Speaker 1>Anybody any lay then looking at the message or the

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<v Speaker 1>photo or the paper won't know it's there, right, so

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<v Speaker 1>you you can still encrypt it, you can still use cryptography.

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<v Speaker 1>In fact, using both together makes a lot of sense.

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<v Speaker 1>But ultimately with steganography, if you've hidden the message well

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<v Speaker 1>enough and people are not if people don't know to

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<v Speaker 1>look for it, it's safe to be in plain text

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<v Speaker 1>to whomever you're sending it to, depending upon what method

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<v Speaker 1>you use, because there are a lot of different ones,

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<v Speaker 1>right um um. A great way to further explain it

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<v Speaker 1>is to go back to the Greek cryptography means secret

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<v Speaker 1>writing and steganography means covered writing. I pause there because

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<v Speaker 1>I was really surprised I said it correctly. Well, every

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<v Speaker 1>time I say it correctly, I will also be surprised.

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<v Speaker 1>Uh yeah. So that really that gets down to the

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<v Speaker 1>heart of it, right, and the combination of the two

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<v Speaker 1>allows you to have more secure communication. Now, there's an

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<v Speaker 1>art to find being hidden messages that have been concealed

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<v Speaker 1>in this way. Yes, it is called stag analysis, which

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<v Speaker 1>I try to look up what the Greek of that meant,

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<v Speaker 1>and it meant covered, breaking up, loosening of Yeah, so

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<v Speaker 1>it's it's all very repetitive. It just means you're uncovering

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<v Speaker 1>the secret message, right. So depending upon the type of

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<v Speaker 1>uh steganogram that has been sent, you would use a

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<v Speaker 1>different method to find the meaning. So when we're talking

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<v Speaker 1>about the modern version of steganography, we're really talking about

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<v Speaker 1>ones and zeros digital information. So steag analysis is largely

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<v Speaker 1>concerned with that because that's that's the main way messages

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<v Speaker 1>are set these days, is through a digital file of

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<v Speaker 1>some sort that to an outside view looks like a

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<v Speaker 1>normal file. There's nothing that seems remarkable about it. But

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<v Speaker 1>if you were to analyze the actual digital information of

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<v Speaker 1>that file, you would start to see pattern that would

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<v Speaker 1>indicates something hanky is going. Yes, and insteak analysis, there

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<v Speaker 1>are two steps to deciphering and the first is detecting

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<v Speaker 1>it UM, which if if it is like a handwritten

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<v Speaker 1>message or something like that, and it's very fairly obvious,

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<v Speaker 1>you can do it without any special software. UM. But

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<v Speaker 1>where it does happen so so much in the digital age, UM,

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<v Speaker 1>there are disk analysis programs that will just look at

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<v Speaker 1>it for you. Yeah, you actually run your suspected uh

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<v Speaker 1>secret message, So it could be very simple like a

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<v Speaker 1>lot of and a lot of examples I see are

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<v Speaker 1>photographs that have been uploaded to public forums and the

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<v Speaker 1>idea being that well, when it's in the public eye,

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<v Speaker 1>no one's paying attention to it because it's just something

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<v Speaker 1>that we see all the time. Like if you were

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<v Speaker 1>to post a picture to Facebook, Yeah, a lot of

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<v Speaker 1>a lot of people do. Then because that's so common,

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<v Speaker 1>it doesn't tend to raise suspicion. So first of all,

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<v Speaker 1>someone has to know that there's something to look for, right,

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<v Speaker 1>they have to first be suspicious that there's some form

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<v Speaker 1>of communication going on. Then they have to start figuring out,

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<v Speaker 1>all right, how is this communication happening, And then they

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<v Speaker 1>would have to start targeting the various means of that,

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<v Speaker 1>and one of those might be photographs, and they'd say,

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<v Speaker 1>all right, let's take this image that was uploaded to

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<v Speaker 1>whatever site, and let's run it through one of these

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<v Speaker 1>disc analysis programs and see if that comes up with

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<v Speaker 1>anything that perhaps there's some indication that something's out of place,

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<v Speaker 1>and it might be something that you looking at would

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<v Speaker 1>notice if you knew what to look for. Yeah, that's

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<v Speaker 1>called perceptible noise. So sometimes if audio visual files are

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<v Speaker 1>slightly off, there might be perceptible noise in there. Yeah,

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<v Speaker 1>so that would just be an indicator, right, something saying

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<v Speaker 1>something's not right now. That can happen naturally, like that

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<v Speaker 1>can just be a problem with the file and not

0:12:58.160 --> 0:13:01.760
<v Speaker 1>not be an indication that there's anything super secret going on.

0:13:02.800 --> 0:13:04.960
<v Speaker 1>Or it could be an indication that, in fact, some

0:13:05.160 --> 0:13:08.440
<v Speaker 1>of the bits in that file have been altered in

0:13:08.559 --> 0:13:11.320
<v Speaker 1>order to send a secret message. And in in the

0:13:11.360 --> 0:13:15.679
<v Speaker 1>best case of steganography, you wouldn't have weird noises or

0:13:15.800 --> 0:13:19.560
<v Speaker 1>distorted pixels for people to see. Yeah, it would just

0:13:19.600 --> 0:13:21.839
<v Speaker 1>be so subtle that you would never pick up on it.

0:13:22.400 --> 0:13:24.960
<v Speaker 1>And uh and that's the reason why you need these

0:13:24.960 --> 0:13:28.680
<v Speaker 1>disc analysis programs, so they can look for things that

0:13:28.840 --> 0:13:33.520
<v Speaker 1>are below the perceptive level of human beings. Uh. So

0:13:33.920 --> 0:13:37.360
<v Speaker 1>again we often see the two working together. Makes a

0:13:37.440 --> 0:13:40.200
<v Speaker 1>lot of sense. So let's talk a little bit about

0:13:40.240 --> 0:13:45.400
<v Speaker 1>the history of steganography, because there are some gloriously awful

0:13:45.559 --> 0:13:49.040
<v Speaker 1>and bloody stories. Oh it gave me the heebs just

0:13:49.040 --> 0:13:51.440
<v Speaker 1>just reading about them. Yeah. So first we got to

0:13:51.440 --> 0:13:53.880
<v Speaker 1>go to ancient Greece, which makes sense. We're talking, you know,

0:13:53.880 --> 0:13:56.400
<v Speaker 1>we're using Greek words, so it makes sense that that

0:13:56.520 --> 0:14:00.120
<v Speaker 1>a lot of the early cases involved Greek stories. And

0:14:00.120 --> 0:14:05.600
<v Speaker 1>we're gonna be talking a lot about Herodotus time. I

0:14:05.640 --> 0:14:08.079
<v Speaker 1>can only do it because I listened to the pronunciation

0:14:08.080 --> 0:14:11.559
<v Speaker 1>and I wrote down a phonetic translation in our notes.

0:14:11.640 --> 0:14:15.320
<v Speaker 1>That is not a joke. Herodotus was a Greek historian

0:14:16.080 --> 0:14:19.880
<v Speaker 1>in the fifth century b c. And wrote a lot

0:14:20.040 --> 0:14:23.880
<v Speaker 1>about Greek history and the history of the surrounding areas

0:14:23.880 --> 0:14:28.360
<v Speaker 1>of Greece, and in fact, his writings were called the Histories. Yeah,

0:14:28.680 --> 0:14:32.160
<v Speaker 1>and or at least we have to we have to

0:14:32.200 --> 0:14:34.000
<v Speaker 1>take some of this with a grain of salt, because

0:14:34.080 --> 0:14:36.280
<v Speaker 1>legend got mixed up with history quite a bit. So.

0:14:37.240 --> 0:14:40.480
<v Speaker 1>In fact, there are some modern accountings that suggest that

0:14:41.160 --> 0:14:45.640
<v Speaker 1>some of the familial connections he makes in his stories

0:14:45.720 --> 0:14:50.280
<v Speaker 1>were not necessarily accurate. So Um one of the big ones,

0:14:50.320 --> 0:14:52.000
<v Speaker 1>in fact, the first one I have to talk about,

0:14:52.520 --> 0:14:55.640
<v Speaker 1>is one of those where the story talks about a

0:14:55.680 --> 0:15:02.280
<v Speaker 1>general named Harpagus who sent a staganagram to Cyrus was

0:15:02.320 --> 0:15:05.160
<v Speaker 1>a king who was going to become the King of

0:15:05.320 --> 0:15:09.000
<v Speaker 1>Kings of Persia. So the Prince of Persia, not the

0:15:09.000 --> 0:15:12.480
<v Speaker 1>Prince of Persian. No, that's a video game, which is fun,

0:15:12.840 --> 0:15:17.720
<v Speaker 1>but not not something we actually need to reference here. Story. Yeah,

0:15:17.720 --> 0:15:20.200
<v Speaker 1>the story is far bloodier in fact, which is odd

0:15:20.200 --> 0:15:21.920
<v Speaker 1>to think of, depending on which version of Prince of

0:15:21.920 --> 0:15:24.760
<v Speaker 1>Persia you played and how badly you played it. But

0:15:25.360 --> 0:15:27.960
<v Speaker 1>Cyrus was going to be the King of Kings of Persia,

0:15:28.080 --> 0:15:31.440
<v Speaker 1>so Persia was divided up into several kingdoms, and then

0:15:31.480 --> 0:15:34.120
<v Speaker 1>you had a sort of an over king who saw

0:15:34.280 --> 0:15:38.840
<v Speaker 1>over everybody, kind of like King Arthur in in English lore. Um.

0:15:39.480 --> 0:15:46.120
<v Speaker 1>So cyrus Um was the grandson, according to Herodotus, to

0:15:46.400 --> 0:15:52.560
<v Speaker 1>another king of kings, Ostiagas, And so Harpagus actually worked

0:15:52.560 --> 0:15:55.840
<v Speaker 1>for Ostiagas. So Ostiogus is this king of kings, and

0:15:55.880 --> 0:15:59.480
<v Speaker 1>he has a dream, and in his dream, his daughter

0:15:59.760 --> 0:16:03.360
<v Speaker 1>give birth to a son, and that son grows up

0:16:03.400 --> 0:16:08.080
<v Speaker 1>to depose osti Agus. So first he ends up marrying

0:16:08.240 --> 0:16:11.160
<v Speaker 1>his daughter off to a kind of milk toast kind

0:16:11.160 --> 0:16:13.120
<v Speaker 1>of guy, someone that he thinks is, oh, well, this

0:16:13.160 --> 0:16:16.000
<v Speaker 1>guy is harmless, so any child they have is not

0:16:16.040 --> 0:16:19.080
<v Speaker 1>going to be a threat to me. Uh. And they

0:16:19.120 --> 0:16:22.480
<v Speaker 1>have a son named Cyrus, according to Herodotus. Again, other

0:16:22.680 --> 0:16:27.360
<v Speaker 1>modern accounts suggest that Cyrus and Ostiagas were not grandfather

0:16:27.440 --> 0:16:29.520
<v Speaker 1>and grandson. Yeah, they might have been related, but not

0:16:29.600 --> 0:16:35.360
<v Speaker 1>like grandfather and grandson, particularly since Cyrus ended up marrying um,

0:16:35.400 --> 0:16:38.120
<v Speaker 1>a daughter of Herodotus, which would have meant he would

0:16:38.120 --> 0:16:41.040
<v Speaker 1>have married his own aunt, which was not common in

0:16:41.080 --> 0:16:46.000
<v Speaker 1>those times. So I mean possible, but not common. So anyway,

0:16:46.000 --> 0:16:51.000
<v Speaker 1>in the story, Cyrus is the grandson, and Ostiagas decides

0:16:51.040 --> 0:16:56.920
<v Speaker 1>Harpagus needs to go out and kill Cyrus. Okay. Harpagas, though,

0:16:57.040 --> 0:17:00.280
<v Speaker 1>does not really relish the thought of spilling royal blood,

0:17:00.400 --> 0:17:03.080
<v Speaker 1>so he takes Cyrus and he gives Cyrus to a

0:17:03.160 --> 0:17:07.080
<v Speaker 1>shepherd and says, look after this kid, uh and raise

0:17:07.160 --> 0:17:09.520
<v Speaker 1>him as your own, and I will report back that

0:17:09.680 --> 0:17:12.639
<v Speaker 1>Cyrus is dead. Pegus seems like a really decent guy,

0:17:12.880 --> 0:17:16.119
<v Speaker 1>at least at that point, so he goes back. He

0:17:16.160 --> 0:17:20.440
<v Speaker 1>reports that Cyrus has died, and Ostiagus says YEA. Ten

0:17:20.560 --> 0:17:23.960
<v Speaker 1>years later, osti Agus finds out Cyrus is actually alive,

0:17:24.640 --> 0:17:29.359
<v Speaker 1>so he punishes Harpegus in kind of a Shakespearean awful way,

0:17:29.600 --> 0:17:34.040
<v Speaker 1>and that in the story, osti Agus gets Harpagus, his son,

0:17:34.920 --> 0:17:39.359
<v Speaker 1>kills him, chops him up, cooks him, serves them to

0:17:39.400 --> 0:17:43.840
<v Speaker 1>Harpagas as a banquet. Harpegas and then tells Harpegus, hey,

0:17:43.880 --> 0:17:45.919
<v Speaker 1>by the way, I hope you like your son, because

0:17:46.000 --> 0:17:50.600
<v Speaker 1>that's what you're eating. Harpegus supposedly then gathered up the

0:17:50.720 --> 0:17:54.680
<v Speaker 1>remains and gave his son a burial. He was being

0:17:54.720 --> 0:17:59.040
<v Speaker 1>obedient to the king outwardly, but inwardly had decided that

0:17:59.080 --> 0:18:01.720
<v Speaker 1>he had had enough and he wanted revenge, so he

0:18:01.800 --> 0:18:05.560
<v Speaker 1>wanted to report to Cyrus. He ended up working very

0:18:05.600 --> 0:18:09.399
<v Speaker 1>hard to get other leaders of Persia to turn against

0:18:09.440 --> 0:18:12.119
<v Speaker 1>ossi Augus and wait for just the right time to

0:18:12.160 --> 0:18:14.960
<v Speaker 1>give Cyrus the signal that now is the time to attack.

0:18:15.400 --> 0:18:17.639
<v Speaker 1>So he needed to send a message to Cyrus saying,

0:18:18.119 --> 0:18:22.640
<v Speaker 1>we're ready to go when you are. But Asti August

0:18:22.680 --> 0:18:25.320
<v Speaker 1>had guards all along the way. So how does he

0:18:25.359 --> 0:18:33.199
<v Speaker 1>send a message. He gets a bunny bunny hair. Actually, no,

0:18:33.280 --> 0:18:35.560
<v Speaker 1>they're not nearly as cute as bunny rabbits, and this

0:18:35.680 --> 0:18:39.320
<v Speaker 1>hair was not nearly as cute because it was did. Yeah,

0:18:39.320 --> 0:18:44.200
<v Speaker 1>they they have a guy kill a hair, They cut

0:18:44.240 --> 0:18:48.159
<v Speaker 1>the hair open, they insert the secret message into the

0:18:48.240 --> 0:18:52.520
<v Speaker 1>hair's stomach, so the hair back up, and a messenger

0:18:52.600 --> 0:18:56.560
<v Speaker 1>disguised as a huntsman brings the hair to Cyrus and says,

0:18:57.440 --> 0:19:00.800
<v Speaker 1>you should cut open this bunny rabbit and get what

0:19:00.880 --> 0:19:04.640
<v Speaker 1>the delicious things inside are. And so Cyrus cuts open

0:19:04.640 --> 0:19:08.200
<v Speaker 1>the stitches, gets the message, sees that it's time to attack,

0:19:08.680 --> 0:19:13.199
<v Speaker 1>and that is how, according to Herodotus, Cyrus goes and

0:19:13.320 --> 0:19:17.200
<v Speaker 1>joins a revolution and overthrows osta AGAs, and then Cyrus

0:19:17.240 --> 0:19:20.879
<v Speaker 1>becomes the king. So there's a long way to go

0:19:21.000 --> 0:19:23.040
<v Speaker 1>for that story, but it's important to know all the

0:19:23.119 --> 0:19:26.879
<v Speaker 1>elements to explain why Harpagus was trying to send a

0:19:26.880 --> 0:19:29.400
<v Speaker 1>coded message in the first place, or hidden message. I'm

0:19:29.440 --> 0:19:31.680
<v Speaker 1>so glad we have better ways to send hidden messages

0:19:31.720 --> 0:19:35.000
<v Speaker 1>than in the stomachs of rabbits. Now yeah, so, um,

0:19:35.040 --> 0:19:38.920
<v Speaker 1>here's another one. This is another popular story from Herodotus.

0:19:39.960 --> 0:19:46.280
<v Speaker 1>This one involves a tyrant named Histius, which sounds like

0:19:46.320 --> 0:19:50.800
<v Speaker 1>you're strangling a snake. Yeah. Histius who is the ruler

0:19:50.960 --> 0:19:56.080
<v Speaker 1>of mild Us, and this guy was really useful to

0:19:56.080 --> 0:19:59.120
<v Speaker 1>the King of Persia. The King of Persia loved Histius

0:19:59.800 --> 0:20:02.840
<v Speaker 1>and and decided to invite him back to become a

0:20:02.920 --> 0:20:05.479
<v Speaker 1>royal advisor. Well that sounds pretty good to me. Well,

0:20:05.760 --> 0:20:08.760
<v Speaker 1>at first, History has thought so too. But then eventually

0:20:08.800 --> 0:20:09.960
<v Speaker 1>he thought, you know, I want to go back to

0:20:10.000 --> 0:20:12.880
<v Speaker 1>being a tyrant of Maltest. Tyrant, by the way, does

0:20:12.920 --> 0:20:16.199
<v Speaker 1>not necessarily mean evil ruler, but it did mean like

0:20:16.480 --> 0:20:21.760
<v Speaker 1>having total authority over a region. Um, so he said,

0:20:21.840 --> 0:20:23.679
<v Speaker 1>he thought, I want to go back to doing what

0:20:23.720 --> 0:20:26.880
<v Speaker 1>I was doing before. But it would be treason for

0:20:26.920 --> 0:20:29.600
<v Speaker 1>me to deny the king. So how do I get

0:20:29.600 --> 0:20:32.560
<v Speaker 1>around this? And he comes up with an even more

0:20:32.640 --> 0:20:35.480
<v Speaker 1>treason this way to get around it. He decides that

0:20:35.520 --> 0:20:38.399
<v Speaker 1>the best way to get back to doing what he

0:20:38.440 --> 0:20:44.800
<v Speaker 1>was doing before would be to stage a revolution back home. Uh,

0:20:44.840 --> 0:20:47.119
<v Speaker 1>and then tell the king, Hey, I need to go

0:20:47.160 --> 0:20:50.280
<v Speaker 1>back there and squash this revolution before it gets out

0:20:50.280 --> 0:20:52.920
<v Speaker 1>of hand because telling the king no is so much

0:20:53.560 --> 0:20:57.439
<v Speaker 1>less worse than lying to the king and tell him.

0:20:57.840 --> 0:21:00.440
<v Speaker 1>So he decides he needs to send this in instruction

0:21:00.560 --> 0:21:04.880
<v Speaker 1>to his nephew, who was in charge of mildest Aristagoras.

0:21:05.720 --> 0:21:07.520
<v Speaker 1>And so how does he send the message. Well, he

0:21:07.560 --> 0:21:12.320
<v Speaker 1>gets a slave which the Greeks had back then, and tattoos.

0:21:12.680 --> 0:21:15.760
<v Speaker 1>He shaves the slave's head, tattoos the message on the

0:21:15.800 --> 0:21:19.440
<v Speaker 1>slave's scalp, then allows the slaves hair to grow back,

0:21:20.119 --> 0:21:23.439
<v Speaker 1>then sends the slave to Aristagoras with the instruction to

0:21:23.440 --> 0:21:25.600
<v Speaker 1>tell Aristagoras, Hey, you need to shave me and read

0:21:25.680 --> 0:21:29.960
<v Speaker 1>my head. So that's exactly what happens. Aristagoras reads the message,

0:21:30.000 --> 0:21:36.520
<v Speaker 1>starts a revolution against the Persians. Then Histius tells the king, Hey,

0:21:37.359 --> 0:21:39.320
<v Speaker 1>this is gonna be a problem, so just send me

0:21:39.400 --> 0:21:42.320
<v Speaker 1>back and I will go and squish this right away,

0:21:42.760 --> 0:21:45.679
<v Speaker 1>and we'll solve this before it turns into a big problem.

0:21:45.680 --> 0:21:49.119
<v Speaker 1>And of course they can a loyal advisor. Sure, yeah,

0:21:49.359 --> 0:21:52.760
<v Speaker 1>So Histius heads on his way back. However, there were

0:21:52.800 --> 0:21:57.679
<v Speaker 1>some folks who were a little suspicious of Histius and

0:21:57.840 --> 0:22:02.439
<v Speaker 1>his convenient revolution, and so eventually his tas goes on

0:22:02.480 --> 0:22:05.159
<v Speaker 1>the run because people are actually after him thinking that

0:22:05.200 --> 0:22:09.520
<v Speaker 1>you know, he's he's committed treason. Uh, yeah, he has

0:22:09.600 --> 0:22:13.760
<v Speaker 1>done that thing, and so he ends up getting exiled

0:22:13.800 --> 0:22:17.240
<v Speaker 1>and eventually uh to an island. He becomes a pirate

0:22:17.320 --> 0:22:21.320
<v Speaker 1>for a while, and then he's eventually captured by one

0:22:21.400 --> 0:22:24.400
<v Speaker 1>of the King of Persia's subjects, who knows that if

0:22:24.400 --> 0:22:26.720
<v Speaker 1>he sends Historius back to the king, the king will

0:22:26.760 --> 0:22:29.520
<v Speaker 1>pardon him, so he just goes ahead and execute histi

0:22:29.720 --> 0:22:32.840
<v Speaker 1>is right then and there, since the head of hist

0:22:33.119 --> 0:22:35.480
<v Speaker 1>Is to the king saying, hey, I caught him. I

0:22:35.640 --> 0:22:38.680
<v Speaker 1>killed him for you. And the king actually supposedly gave

0:22:38.920 --> 0:22:42.639
<v Speaker 1>the head of his tis an honorable burial because he

0:22:42.760 --> 0:22:45.639
<v Speaker 1>never suspected anything was up. He didn't believe his t

0:22:46.000 --> 0:22:52.919
<v Speaker 1>is could have committed any kind of treason against him. So, uh,

0:22:53.000 --> 0:22:58.439
<v Speaker 1>dumb or nice? Not a lot of nice stories in

0:22:58.480 --> 0:23:02.440
<v Speaker 1>ancient Greece. And then you've got another one, another Herodotus,

0:23:02.760 --> 0:23:05.080
<v Speaker 1>Another Herodotus story. I was about to mention it, and

0:23:05.080 --> 0:23:07.240
<v Speaker 1>then I realized that I couldn't actually say his name.

0:23:07.760 --> 0:23:12.920
<v Speaker 1>There was an exiled Greek named named Demeritus, and uh,

0:23:13.000 --> 0:23:16.360
<v Speaker 1>he needed to warn the King of Sparta, Leonidas that

0:23:16.520 --> 0:23:19.119
<v Speaker 1>kings are ses. The first was going to attack them,

0:23:19.160 --> 0:23:23.160
<v Speaker 1>so he took writing tablets, which were wood tablets covered

0:23:23.200 --> 0:23:25.600
<v Speaker 1>in wax. Yeah, and you would scratch a message into

0:23:25.680 --> 0:23:28.280
<v Speaker 1>the wax, and instead he took off all the wax

0:23:28.359 --> 0:23:31.280
<v Speaker 1>and scratched message into the wood and then recovered the

0:23:31.280 --> 0:23:33.760
<v Speaker 1>tablets and wax so that they looked like they were

0:23:33.760 --> 0:23:36.040
<v Speaker 1>blanked tablets. And he sent those to the king to

0:23:36.119 --> 0:23:41.800
<v Speaker 1>warn him. Uh. But proposedly no one knew why they

0:23:41.800 --> 0:23:45.600
<v Speaker 1>were getting these blank tablets. They didn't necessarily know there

0:23:45.680 --> 0:23:48.760
<v Speaker 1>was a message. Why are we getting just we got

0:23:48.840 --> 0:23:51.280
<v Speaker 1>plenty of tablets and no one writes anything of use

0:23:51.320 --> 0:23:55.600
<v Speaker 1>here in Sparta anyway. Yeah, Supposedly the queen, Queen Gorgo

0:23:55.920 --> 0:23:57.399
<v Speaker 1>figured out what it was, said, you got you need

0:23:57.400 --> 0:23:58.800
<v Speaker 1>to take the wax off. I bet there's a message

0:23:58.840 --> 0:24:02.080
<v Speaker 1>under there, and there were. Um, but it didn't help them,

0:24:02.119 --> 0:24:05.840
<v Speaker 1>because the Spartans were brutally defeated. Uh. And if this

0:24:05.920 --> 0:24:09.399
<v Speaker 1>story sounds familiar to you, it's because it is the

0:24:09.440 --> 0:24:14.000
<v Speaker 1>story three the comic movie. Yeah story, that's essentially that's

0:24:14.040 --> 0:24:17.520
<v Speaker 1>the tale the three hundred Spartans who who tried to

0:24:17.600 --> 0:24:22.000
<v Speaker 1>hold a pass and managed to delay xer Ces so

0:24:22.119 --> 0:24:27.200
<v Speaker 1>that the invasion of Greece ultimately would fail, but the

0:24:27.200 --> 0:24:30.040
<v Speaker 1>Spartans were completely wiped out, or at least the the

0:24:30.080 --> 0:24:33.639
<v Speaker 1>three hundred were completely wiped out as a result. Moving

0:24:33.680 --> 0:24:37.480
<v Speaker 1>forward to Roman times, Tacitus invented a way to use

0:24:37.640 --> 0:24:41.480
<v Speaker 1>a predecessor of dice to hide messages. So these these

0:24:41.520 --> 0:24:46.439
<v Speaker 1>dice like things, which I can't remember the name now.

0:24:46.480 --> 0:24:48.720
<v Speaker 1>It's like an estralla alley or something like that, but

0:24:48.760 --> 0:24:51.919
<v Speaker 1>I know I've totally mangled that, so I apologize. But

0:24:52.080 --> 0:24:55.080
<v Speaker 1>they had little holes drilled in them and you could

0:24:55.080 --> 0:25:00.440
<v Speaker 1>string them together, and in this case Tacitus was using

0:25:00.480 --> 0:25:03.680
<v Speaker 1>them to string them together in specific orders to relay

0:25:03.760 --> 0:25:07.159
<v Speaker 1>different types of messages. But if anyone were stopped with them,

0:25:07.200 --> 0:25:09.080
<v Speaker 1>they just looked like it was a toy. It didn't

0:25:09.080 --> 0:25:11.760
<v Speaker 1>look like it was anything of significance, although they might

0:25:11.800 --> 0:25:13.960
<v Speaker 1>play with it and mess up the message. That Yeah,

0:25:14.000 --> 0:25:16.000
<v Speaker 1>if you were to break the thread so that they

0:25:16.000 --> 0:25:18.280
<v Speaker 1>were no longer threaded together in the proper way, then

0:25:18.400 --> 0:25:21.480
<v Speaker 1>the message would be lost. Uh this, by the way,

0:25:21.480 --> 0:25:24.760
<v Speaker 1>it would end up having a specific name, a semigram,

0:25:24.800 --> 0:25:29.440
<v Speaker 1>because it is being used as a non text based message.

0:25:29.880 --> 0:25:32.800
<v Speaker 1>So you don't you don't translate it into texts so

0:25:32.880 --> 0:25:35.520
<v Speaker 1>much as you say, this series of symbols means this

0:25:35.600 --> 0:25:40.040
<v Speaker 1>particular thing. Uh. You also have a guy named Johannes

0:25:40.480 --> 0:25:44.679
<v Speaker 1>Trithmius in the Middle Ages, in the sixteenth century actually,

0:25:44.840 --> 0:25:50.600
<v Speaker 1>who wrote a book titled Steganograph Stega nagraphia, yes, which

0:25:50.920 --> 0:25:54.960
<v Speaker 1>was a stagram in and of itself. This I did

0:25:54.960 --> 0:25:58.320
<v Speaker 1>not know, which is pretty cool. Yeah. It outwardly it

0:25:58.400 --> 0:26:02.120
<v Speaker 1>seemed to be a series of writings on magic, but

0:26:02.320 --> 0:26:06.200
<v Speaker 1>in secret it contained a message on the treatise of steganography.

0:26:06.720 --> 0:26:09.520
<v Speaker 1>That's now that's really cool that you're like, Okay, you've

0:26:09.520 --> 0:26:11.679
<v Speaker 1>gotta be smart enough to know that this is a

0:26:11.720 --> 0:26:15.280
<v Speaker 1>book about secret messages, because it itself is a secret message.

0:26:15.800 --> 0:26:18.560
<v Speaker 1>Uh yeah, really interesting, And then we can skip ahead.

0:26:18.600 --> 0:26:22.760
<v Speaker 1>I mean, obviously these have been used repeatedly in multiple ways.

0:26:22.960 --> 0:26:25.320
<v Speaker 1>There's another great example that during World War One, the

0:26:25.359 --> 0:26:28.359
<v Speaker 1>German embassy in the United States sent a message to

0:26:28.440 --> 0:26:33.200
<v Speaker 1>Berlin that used what's called a null cipher. Null ciphers

0:26:33.280 --> 0:26:36.720
<v Speaker 1>are not very secure at all because once you know

0:26:36.880 --> 0:26:39.360
<v Speaker 1>that there's a possibility, it's very easy to find them.

0:26:39.359 --> 0:26:42.080
<v Speaker 1>But basically it's when you take the first letter of

0:26:42.119 --> 0:26:45.120
<v Speaker 1>each word in a message, and that spells out a

0:26:45.119 --> 0:26:48.879
<v Speaker 1>new message. So here's an example that's often cited. I

0:26:48.880 --> 0:26:52.679
<v Speaker 1>don't know that this was ever actually sent as a message,

0:26:52.680 --> 0:26:55.840
<v Speaker 1>but it's always used as an example. Here's the the

0:26:55.880 --> 0:26:59.200
<v Speaker 1>full message, which was or the carrier message if you will,

0:26:59.240 --> 0:27:04.159
<v Speaker 1>It was President's embargo ruling should have immediate notice, grave

0:27:04.240 --> 0:27:10.119
<v Speaker 1>situation affecting international law. Statement for shadows ruin of many neutrals,

0:27:10.520 --> 0:27:15.000
<v Speaker 1>yellow journals, unifying national excitement immensely. See, they really had

0:27:15.000 --> 0:27:17.960
<v Speaker 1>me until the yellow journals. Like I was following that message,

0:27:18.000 --> 0:27:19.840
<v Speaker 1>I knew what they were trying to set. Well. They

0:27:19.840 --> 0:27:22.480
<v Speaker 1>could have been talking about yellow journalism, but that's a

0:27:22.600 --> 0:27:25.240
<v Speaker 1>different thing. Anyway, you wouldn't know why a German embassy

0:27:25.240 --> 0:27:27.480
<v Speaker 1>would write about it. But at any rate, the secret message,

0:27:27.480 --> 0:27:32.080
<v Speaker 1>if you take those first letters, says Pershing sales from

0:27:32.359 --> 0:27:37.800
<v Speaker 1>n y New York June first or June I upper

0:27:37.840 --> 0:27:40.200
<v Speaker 1>case I. So Pershing was the U. S. General who

0:27:40.240 --> 0:27:43.600
<v Speaker 1>led American the American expeditionary forces in World War One.

0:27:43.880 --> 0:27:46.119
<v Speaker 1>So this would be a message from German, the German

0:27:46.160 --> 0:27:50.119
<v Speaker 1>embassy to Germany saying, hey, this American general is sailing

0:27:50.160 --> 0:27:53.040
<v Speaker 1>out of New York on this date, expect him to

0:27:53.040 --> 0:27:56.199
<v Speaker 1>be in the in the European theater within several weeks,

0:27:56.320 --> 0:27:59.160
<v Speaker 1>that kind of thing. Uh. And now we'll talk about

0:27:59.240 --> 0:28:02.120
<v Speaker 1>some of the types of steganography, because there's a whole

0:28:02.160 --> 0:28:05.639
<v Speaker 1>bunch of because really, any way that you can hide

0:28:05.640 --> 0:28:09.800
<v Speaker 1>a message inside something is technically steganography. So these are

0:28:09.880 --> 0:28:12.600
<v Speaker 1>just some examples. Really, it's not an exhaustive list, because

0:28:12.760 --> 0:28:16.280
<v Speaker 1>that would be impossible. For instance, Uh, there's the old

0:28:16.320 --> 0:28:19.560
<v Speaker 1>Greek ways we talked about um in in history of

0:28:19.640 --> 0:28:23.879
<v Speaker 1>hiding something inside or under something. Great example is in

0:28:24.080 --> 0:28:27.520
<v Speaker 1>the Second World War, the British Secret Service hid escape

0:28:27.600 --> 0:28:30.199
<v Speaker 1>kit pieces in Monopoly games and sent them to the

0:28:30.240 --> 0:28:34.080
<v Speaker 1>prisoners of war in Germany along with Red Cross supplies. Yeah,

0:28:34.160 --> 0:28:38.000
<v Speaker 1>so you could you get these deliveries if you're a

0:28:38.000 --> 0:28:39.719
<v Speaker 1>prisoner of war, and you know, the Germans would say,

0:28:39.720 --> 0:28:42.680
<v Speaker 1>all right, well, this is just humanitarian aid or whatever,

0:28:43.000 --> 0:28:45.320
<v Speaker 1>and as long as it keeps the prisoners mollified, then

0:28:45.320 --> 0:28:48.040
<v Speaker 1>we'll go ahead and give them to them, not realizing

0:28:48.080 --> 0:28:50.600
<v Speaker 1>that they were supplying the prisoners with the very tools

0:28:50.640 --> 0:28:52.840
<v Speaker 1>the prisoners might be able to use to break free,

0:28:53.200 --> 0:28:56.320
<v Speaker 1>which is pretty interesting. And by when the prisoners break free,

0:28:56.560 --> 0:29:01.440
<v Speaker 1>did they have egg on their face. So the semigrams

0:29:01.440 --> 0:29:04.240
<v Speaker 1>I talked about earlier, the dice that are threadned together,

0:29:04.360 --> 0:29:06.760
<v Speaker 1>that's just one example that could be in lots of

0:29:06.800 --> 0:29:11.600
<v Speaker 1>different versions, like iconography or signs or photographs, or even

0:29:11.880 --> 0:29:14.200
<v Speaker 1>like the placement of items on the desk. So let's

0:29:14.200 --> 0:29:16.920
<v Speaker 1>say I've got I could have a webcam set up

0:29:17.200 --> 0:29:20.760
<v Speaker 1>on my desk, for example, so that people who log

0:29:20.800 --> 0:29:23.800
<v Speaker 1>into the web could see me, you know, theoretically just

0:29:23.960 --> 0:29:26.959
<v Speaker 1>working at work like that's all I'm doing. But maybe

0:29:27.320 --> 0:29:30.560
<v Speaker 1>depending upon where my coffee cup is, or depending upon

0:29:30.560 --> 0:29:33.520
<v Speaker 1>where a certain stack of papers happened to be, that

0:29:33.600 --> 0:29:37.440
<v Speaker 1>might be an actual message itself. So Ariel looking at

0:29:37.480 --> 0:29:41.080
<v Speaker 1>the webcam might say, oh, well, Jonathan's gonna go to

0:29:41.760 --> 0:29:45.600
<v Speaker 1>Manual's Tavern today because I see where the combination of

0:29:45.600 --> 0:29:47.680
<v Speaker 1>stuff is. I don't know why I would secretly be

0:29:47.720 --> 0:29:50.920
<v Speaker 1>telling you that, because all of your fans trying to

0:29:50.960 --> 0:29:53.680
<v Speaker 1>follow you. Yeah, that's it. I'm I'm surrounded by the

0:29:53.680 --> 0:29:56.880
<v Speaker 1>thronging fans who and Manual's Tavern is such a low

0:29:56.880 --> 0:30:00.280
<v Speaker 1>profile place, right. Uh that's by the way, you're not

0:30:00.320 --> 0:30:03.240
<v Speaker 1>from Atlanta or never been here. Manuel taverns a very

0:30:03.240 --> 0:30:09.440
<v Speaker 1>popular spot for artists and and playwrights, and political fans

0:30:09.520 --> 0:30:14.120
<v Speaker 1>and sports figures, political figures. Yeah, President Obama came here recently,

0:30:14.560 --> 0:30:17.240
<v Speaker 1>and it's just kind of it's kind of like a

0:30:17.560 --> 0:30:20.520
<v Speaker 1>like I think of it like cheers. Yeah, it's really

0:30:20.560 --> 0:30:23.280
<v Speaker 1>like cheers with chickens on the roof. Yeah. Yeah, there

0:30:23.280 --> 0:30:25.680
<v Speaker 1>are chickens on the roof. That that's not it's not

0:30:25.720 --> 0:30:29.560
<v Speaker 1>a joke. Actually, they use their eggs for breakfast. They do.

0:30:30.440 --> 0:30:34.400
<v Speaker 1>Another example would be the car done grill. It sounds

0:30:34.400 --> 0:30:36.360
<v Speaker 1>like a good restaurant. It does, doesn't it. It's a

0:30:36.400 --> 0:30:39.520
<v Speaker 1>classic example. I was first proposed in the fifteenth century.

0:30:39.560 --> 0:30:41.920
<v Speaker 1>So here's how it works. You've probably seen this. So

0:30:41.960 --> 0:30:45.120
<v Speaker 1>you take a sheet of clean paper or in the

0:30:45.160 --> 0:30:47.800
<v Speaker 1>case of the Middle Ages, parchment, and you set that down.

0:30:48.120 --> 0:30:50.560
<v Speaker 1>You take a second sheet and you cut little holes

0:30:50.760 --> 0:30:54.160
<v Speaker 1>in that sheet and strategic places. You lay the second

0:30:54.160 --> 0:30:56.920
<v Speaker 1>sheet on top of the first sheet, and then you

0:30:56.960 --> 0:30:59.960
<v Speaker 1>write in your secret message in those holes. Using the

0:31:00.000 --> 0:31:02.880
<v Speaker 1>holes is kind of like almost like a stencil, And

0:31:02.960 --> 0:31:05.640
<v Speaker 1>so it's only bits and pieces. Sometimes sometimes it might

0:31:05.680 --> 0:31:07.840
<v Speaker 1>be a word. Sometimes it might just be a single letter.

0:31:08.200 --> 0:31:11.760
<v Speaker 1>But you do that throughout using the holes as your guide.

0:31:11.840 --> 0:31:14.880
<v Speaker 1>To write the secret message. Then you take your stencil

0:31:15.000 --> 0:31:18.440
<v Speaker 1>off and you write in the You fill in the

0:31:18.480 --> 0:31:21.040
<v Speaker 1>rest of the space with a boring message that means

0:31:21.640 --> 0:31:23.760
<v Speaker 1>you know very little in the grand scheme of things.

0:31:24.320 --> 0:31:29.560
<v Speaker 1>So only someone who would have a part a comparable stencil,

0:31:29.760 --> 0:31:31.920
<v Speaker 1>so something that they have a sheet of paper that

0:31:31.920 --> 0:31:34.440
<v Speaker 1>has the same general holes cut out of it, they

0:31:34.440 --> 0:31:37.120
<v Speaker 1>could lay that on top of the full message and

0:31:37.160 --> 0:31:40.840
<v Speaker 1>read the secret message that's underneath. I actually tried to

0:31:40.880 --> 0:31:43.920
<v Speaker 1>make a card and grill a while back back when

0:31:43.960 --> 0:31:46.120
<v Speaker 1>I was in school and do a secret message like that.

0:31:46.160 --> 0:31:48.760
<v Speaker 1>It is harder than I imagined it would be because

0:31:48.840 --> 0:31:51.080
<v Speaker 1>once you put your secret message in, you then have

0:31:51.120 --> 0:31:53.640
<v Speaker 1>to make sure the rest of your message lines up right.

0:31:53.920 --> 0:31:56.240
<v Speaker 1>You have to make it make enough sense, Like how

0:31:56.280 --> 0:31:59.080
<v Speaker 1>do you plan out the rest of your message so

0:31:59.120 --> 0:32:02.240
<v Speaker 1>that you can do this unless you were to create

0:32:02.360 --> 0:32:06.200
<v Speaker 1>a message from the very beginning, and then you create

0:32:06.400 --> 0:32:09.880
<v Speaker 1>a grill that fits on top of your existing message

0:32:09.880 --> 0:32:12.560
<v Speaker 1>that shows what which words are the most important, and

0:32:12.560 --> 0:32:14.960
<v Speaker 1>then you send it. But then you've got to figure out, well,

0:32:15.000 --> 0:32:16.960
<v Speaker 1>how do I get how do I get the grill?

0:32:17.720 --> 0:32:21.320
<v Speaker 1>How do I get the the stencil to the person

0:32:21.360 --> 0:32:23.040
<v Speaker 1>I need? To send it to, because if I send both,

0:32:23.080 --> 0:32:26.440
<v Speaker 1>then clearly the jig is up, you know, So it

0:32:26.520 --> 0:32:30.080
<v Speaker 1>is a little tricky. I love this next one you've got. Yeah,

0:32:30.080 --> 0:32:33.040
<v Speaker 1>this next one, I had to double check it because

0:32:33.040 --> 0:32:36.080
<v Speaker 1>I didn't think it was possibly real. But people would

0:32:36.240 --> 0:32:39.920
<v Speaker 1>knit Morrise code into garments and then send those garments

0:32:39.920 --> 0:32:43.280
<v Speaker 1>on the couriers for people to decipher. And you think

0:32:43.320 --> 0:32:46.000
<v Speaker 1>it was just like a knit line of Yeah, just

0:32:46.040 --> 0:32:49.280
<v Speaker 1>a pattern, just a pattern, Yeah, clothing. I think that's

0:32:49.280 --> 0:32:50.920
<v Speaker 1>super cool. I want to start doing that when I

0:32:50.920 --> 0:32:53.360
<v Speaker 1>have kids, I'm gonna knit Morse code into all their clothes.

0:32:53.400 --> 0:32:56.720
<v Speaker 1>They'll be fantastic things like things like do your chores

0:32:57.600 --> 0:33:02.880
<v Speaker 1>if this child is found you, Well, that's a I

0:33:02.960 --> 0:33:06.080
<v Speaker 1>like that you expect spies to come across your children

0:33:06.120 --> 0:33:08.360
<v Speaker 1>because I can't think of anyone else who typically uses

0:33:08.400 --> 0:33:11.920
<v Speaker 1>Morse code on a frequent basis. Uh. I like the

0:33:11.960 --> 0:33:14.400
<v Speaker 1>next one too, which is also pretty cool, the idea

0:33:14.440 --> 0:33:17.800
<v Speaker 1>that just through through formatting a document, you can create

0:33:17.840 --> 0:33:21.120
<v Speaker 1>a secret message. Yeah, you can add an extra space,

0:33:21.200 --> 0:33:24.320
<v Speaker 1>which most people don't notice. I do a lot of

0:33:24.400 --> 0:33:27.520
<v Speaker 1>editing at my job, and so I often see extra

0:33:27.560 --> 0:33:30.960
<v Speaker 1>spaces at before after a period or before a certain word,

0:33:31.200 --> 0:33:33.680
<v Speaker 1>like before a hyphen or after a hyphen. But you

0:33:33.720 --> 0:33:37.000
<v Speaker 1>can add those extra spaces before the important words in

0:33:37.080 --> 0:33:39.080
<v Speaker 1>any word that you find that has an extra space before,

0:33:39.360 --> 0:33:42.400
<v Speaker 1>that's part of your cipher. Nice. I've also seen where

0:33:42.440 --> 0:33:46.080
<v Speaker 1>you could do things like subtly change the font, yes,

0:33:46.200 --> 0:33:49.080
<v Speaker 1>like really subtle, like courier to Courier new, which is

0:33:49.880 --> 0:33:52.760
<v Speaker 1>at a casual glance, it looks the same, but if

0:33:52.760 --> 0:33:56.280
<v Speaker 1>you're paying attention, you can tell the difference, and thus

0:33:56.400 --> 0:33:59.640
<v Speaker 1>you put the important words in the different font. And

0:33:59.640 --> 0:34:02.280
<v Speaker 1>as long this messages, like as long as your carrier

0:34:02.320 --> 0:34:05.800
<v Speaker 1>message is long enough and your secret message is short enough,

0:34:06.160 --> 0:34:08.360
<v Speaker 1>people are probably not going to pick up on it.

0:34:09.040 --> 0:34:11.560
<v Speaker 1>You can also vaguely change the skew as well. That

0:34:11.640 --> 0:34:14.319
<v Speaker 1>that one's a little bit more noticeable, right, right, So

0:34:14.480 --> 0:34:17.040
<v Speaker 1>it's you know, some of these again can get pretty

0:34:17.120 --> 0:34:19.680
<v Speaker 1>risky if your secret message is pretty long. This is

0:34:20.040 --> 0:34:23.880
<v Speaker 1>true in general, right, The longer your carrier message, the

0:34:23.920 --> 0:34:27.080
<v Speaker 1>more secure the secret is going to be, assuming that

0:34:27.120 --> 0:34:29.520
<v Speaker 1>the secret is not itself very long. If I have,

0:34:30.239 --> 0:34:31.960
<v Speaker 1>like if I'm trying to hide a secret message in

0:34:32.000 --> 0:34:34.360
<v Speaker 1>a tweet, that's gonna be hard because they only have

0:34:34.400 --> 0:34:37.239
<v Speaker 1>a hundred forty characters to start with, and then if

0:34:37.239 --> 0:34:40.000
<v Speaker 1>I'm trying to hide a message in that, then it

0:34:40.040 --> 0:34:42.480
<v Speaker 1>has to be a pretty small message. Otherwise it's just

0:34:42.520 --> 0:34:45.120
<v Speaker 1>gonna look like a tweet. It would probably have to

0:34:45.160 --> 0:34:50.279
<v Speaker 1>be a cryptogram yeah, where individual letters mean full things

0:34:50.360 --> 0:34:55.520
<v Speaker 1>or right, or or like just a regular code where

0:34:55.560 --> 0:34:58.080
<v Speaker 1>someone has a codebook and they know that when I

0:34:58.239 --> 0:35:02.759
<v Speaker 1>use this word that means something else. Yeah. In that case,

0:35:02.840 --> 0:35:04.680
<v Speaker 1>that would that would be more of a code than ah,

0:35:06.480 --> 0:35:09.000
<v Speaker 1>than than a secret message in this sense, But there

0:35:09.000 --> 0:35:11.680
<v Speaker 1>are other ones too. There's also an invisible ink, which

0:35:11.960 --> 0:35:14.160
<v Speaker 1>is a thing ie. People have actually used it for

0:35:14.239 --> 0:35:18.680
<v Speaker 1>reals and also it's usually called sympathetic ink in the biz.

0:35:18.719 --> 0:35:21.560
<v Speaker 1>Because you would have a regular message written out in

0:35:21.640 --> 0:35:24.719
<v Speaker 1>normal inc that would have, you know, very boring, you know,

0:35:24.800 --> 0:35:27.680
<v Speaker 1>no reason to raise suspicion. You would write the actual

0:35:27.760 --> 0:35:30.320
<v Speaker 1>secret message and invisible ink kind of between the lines,

0:35:30.920 --> 0:35:32.680
<v Speaker 1>and then the person who receives it would have to

0:35:32.680 --> 0:35:34.960
<v Speaker 1>treat it. However they need to treat it, usually like

0:35:35.120 --> 0:35:37.800
<v Speaker 1>adding a little heat or maybe adding a certain chemical

0:35:38.120 --> 0:35:40.560
<v Speaker 1>to bring out the invisible ink so that you can

0:35:40.760 --> 0:35:43.400
<v Speaker 1>make it legible, and then you would be able to

0:35:43.440 --> 0:35:47.239
<v Speaker 1>read the secret stuff. And another way to hide messages

0:35:47.360 --> 0:35:51.759
<v Speaker 1>would be through photography. Yeah, like the Pueblo incident, which

0:35:51.800 --> 0:35:53.840
<v Speaker 1>as far as taganography goes, is kind of like a

0:35:53.880 --> 0:35:58.920
<v Speaker 1>semigram where uh crew of the USS Pueblo was captured

0:35:58.920 --> 0:36:02.480
<v Speaker 1>by North Korea right before the Vietnam War. They were

0:36:03.000 --> 0:36:06.160
<v Speaker 1>an electronic intelligence ship and they were forced to take

0:36:06.239 --> 0:36:09.400
<v Speaker 1>propaganda photos, and in those propaganda photos they all rested

0:36:09.400 --> 0:36:11.120
<v Speaker 1>with their hands on their faces or their shoulders in

0:36:11.120 --> 0:36:13.960
<v Speaker 1>a very nonchalant way, and it was actually a code

0:36:14.200 --> 0:36:18.280
<v Speaker 1>for the US to decipher. That's pretty incredible. It really

0:36:18.360 --> 0:36:21.520
<v Speaker 1>is so similar to what I was describing with the webcam,

0:36:21.600 --> 0:36:26.480
<v Speaker 1>the idea of just having this this foresight that you

0:36:26.520 --> 0:36:29.960
<v Speaker 1>know clearly you thought ahead, so that the person who

0:36:30.000 --> 0:36:33.040
<v Speaker 1>sees it knows what the meaning is behind whatever you're

0:36:33.440 --> 0:36:35.960
<v Speaker 1>whatever the images. Yes, and there there there are more

0:36:36.000 --> 0:36:39.680
<v Speaker 1>complicated versions of that. For instance, there you can systematically

0:36:39.840 --> 0:36:44.160
<v Speaker 1>change pixel colors to correspond with letters in the alphabet

0:36:44.320 --> 0:36:47.880
<v Speaker 1>and then only change like the first pixel every square

0:36:48.320 --> 0:36:51.640
<v Speaker 1>centimeter or millimeter in photo or every so many lines,

0:36:52.200 --> 0:36:54.720
<v Speaker 1>and people can get the message that way. That. Yeah,

0:36:54.760 --> 0:36:58.319
<v Speaker 1>that's definitely really very subtle, especially you know if you're

0:36:58.400 --> 0:37:00.799
<v Speaker 1>using things like black and white photo is where you

0:37:00.840 --> 0:37:03.440
<v Speaker 1>can you can change those things and they're not called

0:37:03.440 --> 0:37:07.279
<v Speaker 1>out as much because you could make it like a

0:37:07.400 --> 0:37:09.600
<v Speaker 1>square that was going to be very dark a much

0:37:09.719 --> 0:37:11.960
<v Speaker 1>lighter gray, and if you know what to look for,

0:37:12.400 --> 0:37:14.920
<v Speaker 1>then you could see the pattern. But otherwise you might

0:37:14.960 --> 0:37:18.080
<v Speaker 1>just think, oh, this is just poor developing or whatever

0:37:18.160 --> 0:37:21.800
<v Speaker 1>it's it's the it's a graininess of the photo. UM.

0:37:21.840 --> 0:37:24.799
<v Speaker 1>You could use an existing piece of text, like a newspaper.

0:37:24.920 --> 0:37:26.839
<v Speaker 1>This was used during the Cold War all the time,

0:37:26.880 --> 0:37:30.879
<v Speaker 1>where uh you would use like a pen to put

0:37:31.000 --> 0:37:35.160
<v Speaker 1>tiny holes above important letters, and then so you would

0:37:35.160 --> 0:37:37.040
<v Speaker 1>grab the newspaper hold it up so you can see

0:37:37.040 --> 0:37:39.400
<v Speaker 1>where the holes were, and that would give you the

0:37:39.480 --> 0:37:42.000
<v Speaker 1>letters to spell out or sometimes a full word to

0:37:42.040 --> 0:37:45.880
<v Speaker 1>spell out whatever the secret message was. UM. Or you

0:37:45.960 --> 0:37:48.160
<v Speaker 1>might use a dot with invisible ink if you wanted

0:37:48.200 --> 0:37:50.560
<v Speaker 1>to make sure people like could pick up the newspaper

0:37:50.600 --> 0:37:53.080
<v Speaker 1>and hold it up and not see light coming through

0:37:53.160 --> 0:37:56.400
<v Speaker 1>at strategic locations. But then of course you would have

0:37:56.440 --> 0:37:59.600
<v Speaker 1>to treat the newspaper to whatever it was that you know,

0:37:59.640 --> 0:38:02.200
<v Speaker 1>would ing the invisible inc ount dots are really important

0:38:02.200 --> 0:38:06.080
<v Speaker 1>and steagatography like they're used in many different ways. Yeah, yeah,

0:38:06.120 --> 0:38:09.320
<v Speaker 1>there's I actually got to see examples of this because

0:38:09.320 --> 0:38:12.240
<v Speaker 1>I went to the Spy Museum, which is in Washington,

0:38:12.320 --> 0:38:16.600
<v Speaker 1>d C. And they had examples of micro dots. And

0:38:16.680 --> 0:38:20.080
<v Speaker 1>micro dots are kind of think of it like micro film.

0:38:20.120 --> 0:38:23.960
<v Speaker 1>It's tiny little bits of film that look like a

0:38:24.080 --> 0:38:27.080
<v Speaker 1>period that's how small they are. And unless you were

0:38:27.120 --> 0:38:29.279
<v Speaker 1>to hold it up and see that it was in

0:38:29.320 --> 0:38:33.200
<v Speaker 1>fact film and not just a solid blob of ink,

0:38:33.760 --> 0:38:36.200
<v Speaker 1>you would never suspected of being anything other than a

0:38:36.239 --> 0:38:40.440
<v Speaker 1>punctuation mark. And it can hold an incredible amount of

0:38:40.480 --> 0:38:43.920
<v Speaker 1>information because you know they're There are ways to enlarge photos.

0:38:43.920 --> 0:38:47.200
<v Speaker 1>We're talking about the old film style, right. This doesn't

0:38:47.880 --> 0:38:49.840
<v Speaker 1>mean you can do it digitally too, but we're talking

0:38:50.320 --> 0:38:53.680
<v Speaker 1>old school. So there are ways where you could take

0:38:53.680 --> 0:38:55.360
<v Speaker 1>a photo and then blow it up and blow it

0:38:55.440 --> 0:38:57.120
<v Speaker 1>up and blow it up so that you get like

0:38:57.200 --> 0:39:00.160
<v Speaker 1>a poster size or larger. Well, they're also ways where

0:39:00.160 --> 0:39:01.719
<v Speaker 1>you could shrink it down and shrink it down and

0:39:01.719 --> 0:39:05.080
<v Speaker 1>shrink it down. And uh, I was reading one way

0:39:05.120 --> 0:39:07.320
<v Speaker 1>that cuts so technical that I gave up on the

0:39:07.400 --> 0:39:10.839
<v Speaker 1>chance of trying to even describe it. But ultimately they

0:39:10.840 --> 0:39:17.000
<v Speaker 1>said it was two hundred and ten times smaller than

0:39:17.040 --> 0:39:20.320
<v Speaker 1>the original photograph. And so you could take a picture

0:39:20.320 --> 0:39:23.239
<v Speaker 1>of say a document, top secret document, and then you

0:39:23.239 --> 0:39:25.200
<v Speaker 1>shrink it down to this side so it looks like

0:39:25.200 --> 0:39:27.680
<v Speaker 1>it's a you know, a period. You just cut out

0:39:27.719 --> 0:39:29.719
<v Speaker 1>a little piece of the paper, you insert this in,

0:39:30.600 --> 0:39:33.239
<v Speaker 1>and to casual glance, it seems like it's just a

0:39:33.320 --> 0:39:38.080
<v Speaker 1>regular sheet of paper with punctuation. But when you are

0:39:38.120 --> 0:39:40.359
<v Speaker 1>in the right hands, which might be the wrong hands

0:39:40.360 --> 0:39:43.920
<v Speaker 1>depending on what side you're on, then you can find out, um,

0:39:44.040 --> 0:39:46.360
<v Speaker 1>what is actually there. This was a process that was

0:39:46.400 --> 0:39:50.560
<v Speaker 1>created by a man named Emmanuel goldberg Um and used

0:39:50.600 --> 0:39:55.000
<v Speaker 1>it for spying, and very popular, particularly amongst Soviet Union

0:39:55.120 --> 0:39:58.160
<v Speaker 1>spies at the time. I would imagine nowadays if you

0:39:58.440 --> 0:40:00.879
<v Speaker 1>used micro dots in a digit will format, it would

0:40:00.880 --> 0:40:03.239
<v Speaker 1>be a lot harder to detect, because you couldn't hold

0:40:03.320 --> 0:40:06.760
<v Speaker 1>up the paper and see that something was amiss. Yeah, yeah,

0:40:07.040 --> 0:40:12.799
<v Speaker 1>it was. It's the game has changed significantly, and by

0:40:12.800 --> 0:40:15.160
<v Speaker 1>this time, obviously we're talking about something a lot more

0:40:15.200 --> 0:40:21.759
<v Speaker 1>subtle than a dead rabbit. Yeh. But but sometimes we

0:40:21.800 --> 0:40:24.080
<v Speaker 1>can have things that are just as irritating as maybe

0:40:24.120 --> 0:40:27.279
<v Speaker 1>a dead rabbit would be, such as spam the mickry, Uh,

0:40:27.480 --> 0:40:31.400
<v Speaker 1>disguising messages that you want to send as spam emails

0:40:31.600 --> 0:40:35.400
<v Speaker 1>or nonsensical musings or what not. You do this by

0:40:35.560 --> 0:40:38.200
<v Speaker 1>messing up the placement of the punctuation or the type

0:40:38.239 --> 0:40:40.719
<v Speaker 1>of the fonts, or the grammar of the message as

0:40:40.719 --> 0:40:43.319
<v Speaker 1>it means to communicating the secret. Yeah, I love this.

0:40:43.440 --> 0:40:47.120
<v Speaker 1>I actually saw an example of this where uh, someone

0:40:47.360 --> 0:40:51.600
<v Speaker 1>used grammar as the key indicator, and so you would

0:40:51.600 --> 0:40:54.720
<v Speaker 1>read the message and whenever you found a grammatical error,

0:40:54.800 --> 0:40:57.120
<v Speaker 1>that was actually an indicator that this is where you

0:40:57.160 --> 0:41:00.839
<v Speaker 1>need to pay attention. Uh. That was of interesting. Well,

0:41:01.360 --> 0:41:03.640
<v Speaker 1>you would think it would be easy to decipher, but

0:41:03.800 --> 0:41:07.160
<v Speaker 1>with as much spam email as everybody gets nowadays, you

0:41:07.200 --> 0:41:09.400
<v Speaker 1>don't even think to look, well, right, yeah, you just

0:41:09.880 --> 0:41:12.640
<v Speaker 1>especially if you were to broadcast this, so that it's

0:41:12.680 --> 0:41:16.000
<v Speaker 1>not something that just one person gets, because again we're

0:41:16.000 --> 0:41:18.920
<v Speaker 1>all used to getting that spam. Most of us would

0:41:18.960 --> 0:41:21.239
<v Speaker 1>never even look twice at it. We would just see, oh,

0:41:21.440 --> 0:41:25.480
<v Speaker 1>spam message deleted. So you could actually have security by

0:41:25.520 --> 0:41:28.640
<v Speaker 1>sending it to lots of people, because then it looks

0:41:28.640 --> 0:41:31.759
<v Speaker 1>like it's quote unquote legitimate spam. That seems like a

0:41:31.800 --> 0:41:34.080
<v Speaker 1>weird thing to say, but that's that's where it is.

0:41:34.440 --> 0:41:39.000
<v Speaker 1>Now we're getting into the more modern versions where this

0:41:39.040 --> 0:41:41.920
<v Speaker 1>is where we need things like a disk analysis software

0:41:41.920 --> 0:41:46.200
<v Speaker 1>in order to discover it. So digital files, let's talk

0:41:46.239 --> 0:41:49.200
<v Speaker 1>about these in general, and this can refer to pretty

0:41:49.280 --> 0:41:53.279
<v Speaker 1>much any kind of digital file like audio, video, images,

0:41:53.760 --> 0:41:57.000
<v Speaker 1>any of that sort of stuff. So we all know

0:41:57.160 --> 0:42:00.319
<v Speaker 1>digital files are made up ultimately of strings of ones

0:42:00.360 --> 0:42:04.000
<v Speaker 1>and zeros. Yeah, so here's the thing. Some of those

0:42:04.040 --> 0:42:07.080
<v Speaker 1>bits are more important than others. Not all bits are equal,

0:42:07.760 --> 0:42:11.080
<v Speaker 1>some of those bits are not so important. So if

0:42:11.120 --> 0:42:14.800
<v Speaker 1>you were to pick the least significant bits or l

0:42:14.960 --> 0:42:17.319
<v Speaker 1>s B s, you can do something called the least

0:42:17.320 --> 0:42:21.799
<v Speaker 1>significant bit insertion, which is where you alter a bit,

0:42:22.640 --> 0:42:26.600
<v Speaker 1>and by altering a series of bits, you can create

0:42:26.680 --> 0:42:31.359
<v Speaker 1>a message. Now, it takes several bits to make just

0:42:31.600 --> 0:42:34.799
<v Speaker 1>one character in the alphabet, so you have to be

0:42:35.000 --> 0:42:37.919
<v Speaker 1>very succinct with your messages because the more of these

0:42:37.960 --> 0:42:40.919
<v Speaker 1>you mess up, the more likely that will it will

0:42:40.960 --> 0:42:46.240
<v Speaker 1>be detectable by somebody who's paying really close attention, either

0:42:46.880 --> 0:42:50.400
<v Speaker 1>close attention to your activities or close attention to the file.

0:42:51.000 --> 0:42:53.680
<v Speaker 1>So if you do it well, and you and you're

0:42:53.840 --> 0:42:57.360
<v Speaker 1>very careful with it, most people are never going to notice.

0:42:57.360 --> 0:42:59.560
<v Speaker 1>And this is what we talk about when someone posts

0:42:59.640 --> 0:43:03.240
<v Speaker 1>anage to a public forum and there's a hidden message

0:43:03.320 --> 0:43:09.040
<v Speaker 1>in those bits. Uh yeah, And generally speaking, you want

0:43:09.040 --> 0:43:11.200
<v Speaker 1>to go if you're making one of these, you want

0:43:11.200 --> 0:43:14.360
<v Speaker 1>to go with a lossless format as opposed to lossy

0:43:14.480 --> 0:43:18.680
<v Speaker 1>compressed versions, because technically you would normally create this this

0:43:18.760 --> 0:43:22.600
<v Speaker 1>message in the lossless fine style and put it in

0:43:22.640 --> 0:43:25.399
<v Speaker 1>there and then allow it to be compressed. So if

0:43:25.440 --> 0:43:28.200
<v Speaker 1>it's a lossless format that then is compressed, you don't

0:43:28.239 --> 0:43:32.399
<v Speaker 1>lose any information that way. Uh. These compression algorithms are

0:43:32.520 --> 0:43:35.120
<v Speaker 1>very good at keeping the original information in tact, so

0:43:35.160 --> 0:43:36.719
<v Speaker 1>that way you know your message is not going to

0:43:36.840 --> 0:43:41.040
<v Speaker 1>get altered lossy formats. The way lossy formats work is

0:43:41.200 --> 0:43:44.120
<v Speaker 1>they look for information that doesn't seem important and then

0:43:44.120 --> 0:43:46.239
<v Speaker 1>they drop it, and that's one of the ways they

0:43:46.320 --> 0:43:49.440
<v Speaker 1>compressed the file size. So if you put a secret

0:43:49.480 --> 0:43:52.120
<v Speaker 1>message in a file, that's then going to be compressed

0:43:52.120 --> 0:43:54.680
<v Speaker 1>in this way, your secret message could be part of

0:43:54.719 --> 0:43:57.400
<v Speaker 1>the stuff that gets dropped or altered and then you

0:43:57.440 --> 0:43:59.880
<v Speaker 1>can't communicate. So if you do want to post a

0:44:00.000 --> 0:44:02.040
<v Speaker 1>picture with a secret message on Facebook, you should use

0:44:02.040 --> 0:44:05.400
<v Speaker 1>a gift instead of j pick right, unless you insist

0:44:05.560 --> 0:44:07.759
<v Speaker 1>on pronouncing it jeff, in which case I don't even

0:44:07.760 --> 0:44:10.080
<v Speaker 1>want to talk to you. Did I say you said gifts?

0:44:10.320 --> 0:44:12.880
<v Speaker 1>Thank goodness. See that's the way I pronounce it too.

0:44:12.960 --> 0:44:15.279
<v Speaker 1>I don't because it if you put a T at

0:44:15.280 --> 0:44:18.160
<v Speaker 1>the end of that, it's a gift and G stands

0:44:18.200 --> 0:44:21.600
<v Speaker 1>for graphic. That's a good sound, not a h. Don't

0:44:21.640 --> 0:44:24.560
<v Speaker 1>get me. But that's again not the only type of

0:44:24.600 --> 0:44:27.319
<v Speaker 1>digital information that could be altered, right, Yeah, I mean

0:44:27.320 --> 0:44:29.680
<v Speaker 1>you can also alter the audio files. I think we

0:44:29.760 --> 0:44:34.240
<v Speaker 1>talked about this already by not just not just digital audio,

0:44:34.320 --> 0:44:38.280
<v Speaker 1>like not just MP three, but even void calls voice

0:44:38.280 --> 0:44:42.000
<v Speaker 1>over Internet protocol calls. Yeah, you could. And there's also

0:44:42.560 --> 0:44:45.640
<v Speaker 1>water market. Yes, there is digital water marking, which is

0:44:45.719 --> 0:44:50.200
<v Speaker 1>used to protect intellectual property and by embedding information like

0:44:50.239 --> 0:44:54.360
<v Speaker 1>the creator and the copyright and et cetera into the file. Um.

0:44:54.400 --> 0:44:56.520
<v Speaker 1>And that way, if people try to claim it as

0:44:56.520 --> 0:44:58.959
<v Speaker 1>their own, they could say, nope, here's my water mark.

0:44:59.120 --> 0:45:01.920
<v Speaker 1>See it's got all my little information in there. Sure. Um.

0:45:01.960 --> 0:45:05.040
<v Speaker 1>They also use digital water water marking in a method

0:45:05.080 --> 0:45:09.560
<v Speaker 1>called fingerprinting, where they put a different, unique water mark

0:45:09.640 --> 0:45:12.759
<v Speaker 1>on each copy of the document or information they send out,

0:45:13.400 --> 0:45:15.600
<v Speaker 1>and that way, if someone tries to copy it or

0:45:15.640 --> 0:45:18.200
<v Speaker 1>send it out themselves to people who shouldn't get it,

0:45:18.239 --> 0:45:20.800
<v Speaker 1>they can say, oh, all of these have that unique

0:45:20.800 --> 0:45:23.799
<v Speaker 1>water mark, so we know who sent it. Bobby's in

0:45:23.880 --> 0:45:27.160
<v Speaker 1>trouble because this is the version that we sent to Bobby,

0:45:27.239 --> 0:45:30.719
<v Speaker 1>and everyone else got a different uh digital watermarks, so

0:45:30.760 --> 0:45:33.320
<v Speaker 1>we narrowed it down. We know who is at fault,

0:45:33.600 --> 0:45:36.640
<v Speaker 1>or we know who was compromised. Their security might have

0:45:36.640 --> 0:45:40.520
<v Speaker 1>been compromised. That's really cool. Uh yeah, then we've got

0:45:40.640 --> 0:45:44.920
<v Speaker 1>subliminal channels, which is not probably what you think it is.

0:45:44.480 --> 0:45:48.799
<v Speaker 1>It isn't like messages secretly in movies or playing my

0:45:48.880 --> 0:45:51.120
<v Speaker 1>music back where there's nothing like that. No, it's not

0:45:51.160 --> 0:45:54.480
<v Speaker 1>like John is dead missing missing, It's none of that. Uh. Now,

0:45:54.520 --> 0:45:58.960
<v Speaker 1>this is something that was proposed in by a mathematician

0:45:58.960 --> 0:46:03.640
<v Speaker 1>and cryptographer Nay gust of Us J. Simmons Uh and

0:46:03.880 --> 0:46:09.279
<v Speaker 1>Simmons poet proposed something called the prisoners problem, and it's

0:46:09.280 --> 0:46:11.600
<v Speaker 1>a thought experiment. This is the way the thought experiment works.

0:46:12.200 --> 0:46:16.600
<v Speaker 1>You've got two accomplices who are captured during the while

0:46:16.600 --> 0:46:20.440
<v Speaker 1>they're trying to commit a crime. Bob Okay Bob and Jennercott.

0:46:21.040 --> 0:46:23.239
<v Speaker 1>Usually it's Bob and Alice actually, so we got half

0:46:23.280 --> 0:46:26.000
<v Speaker 1>of them already, but Bob and Jenner Cott, uh and

0:46:26.120 --> 0:46:29.480
<v Speaker 1>there put into the same jail. But Bob is put

0:46:29.520 --> 0:46:31.759
<v Speaker 1>in one cell. Jen is put on a cell on

0:46:31.840 --> 0:46:33.799
<v Speaker 1>the opposite end of the jail, so there's no way

0:46:33.800 --> 0:46:38.839
<v Speaker 1>for them to communicate directly. The warden is told, hey,

0:46:38.880 --> 0:46:41.239
<v Speaker 1>these two want to be able to talk. What how

0:46:41.239 --> 0:46:43.319
<v Speaker 1>do we do that? And the warden says, all right,

0:46:43.480 --> 0:46:46.680
<v Speaker 1>here's the deal. You will be allowed to communicate to

0:46:46.680 --> 0:46:49.680
<v Speaker 1>each other, but I get to see everything you send

0:46:49.719 --> 0:46:53.280
<v Speaker 1>to one another. So that way, if there's any messages

0:46:53.320 --> 0:46:55.319
<v Speaker 1>about trying to break out of jail, I'm gonna get

0:46:55.320 --> 0:46:57.920
<v Speaker 1>it immediately and you're gonna be stopped. That's a nice warden,

0:46:57.960 --> 0:46:59.440
<v Speaker 1>because I'd just be like, you guys can't talk to

0:46:59.440 --> 0:47:03.480
<v Speaker 1>each other. It gets nicer actually because Bob and jen say,

0:47:03.520 --> 0:47:06.479
<v Speaker 1>all right, but we want to make sure that our

0:47:06.480 --> 0:47:11.520
<v Speaker 1>messages are genuinely coming from the other person. And we

0:47:11.680 --> 0:47:13.879
<v Speaker 1>want in other words, we want to make sure that you,

0:47:14.200 --> 0:47:17.360
<v Speaker 1>Mr Warden, aren't going in and messing up our messages.

0:47:17.800 --> 0:47:21.080
<v Speaker 1>So we want to be able to authenticate that our

0:47:21.080 --> 0:47:23.759
<v Speaker 1>messages come from each other, so we have to we

0:47:23.800 --> 0:47:25.279
<v Speaker 1>want to be able to come up with a way

0:47:25.360 --> 0:47:29.160
<v Speaker 1>to say it's essentially a signature to say, yes, this

0:47:29.360 --> 0:47:32.120
<v Speaker 1>actually came from Bob, or yes this actually came from Jen.

0:47:32.680 --> 0:47:36.040
<v Speaker 1>And the warden says, well, all right, if you if

0:47:36.080 --> 0:47:38.359
<v Speaker 1>you agree to my terms, I agree to your terms.

0:47:38.400 --> 0:47:42.040
<v Speaker 1>We can all do this. What Simmons said was, if

0:47:42.040 --> 0:47:45.520
<v Speaker 1>you're willing to give up a little of that authentication security,

0:47:46.160 --> 0:47:50.359
<v Speaker 1>you could take some of the authentication message. Let's say

0:47:50.400 --> 0:47:54.640
<v Speaker 1>that it's one fifth as long as your actual message.

0:47:54.920 --> 0:47:57.439
<v Speaker 1>Still would be really long for authentication, but let's say

0:47:57.480 --> 0:48:00.880
<v Speaker 1>so let's say that then you change change some of

0:48:00.880 --> 0:48:03.840
<v Speaker 1>that authentication which normally would look like it's random, like

0:48:03.920 --> 0:48:07.440
<v Speaker 1>it's supposed to look random, so that way, uh, you know,

0:48:07.640 --> 0:48:10.560
<v Speaker 1>it's it's not if it's predetermined in a way that

0:48:10.719 --> 0:48:13.279
<v Speaker 1>everyone knows about, like if everyone knows the key and

0:48:13.320 --> 0:48:18.400
<v Speaker 1>the algorithm, then there's no authentication there. Uh. But instead

0:48:18.400 --> 0:48:20.759
<v Speaker 1>of it actually being random, it just looks random, and

0:48:20.760 --> 0:48:24.600
<v Speaker 1>you've actually changed some of the authentication message so that

0:48:24.600 --> 0:48:27.320
<v Speaker 1>that's where the secret messages. It's not within the body

0:48:27.520 --> 0:48:31.160
<v Speaker 1>of the actual message, it's in the authentication. Uh. Now

0:48:31.200 --> 0:48:33.839
<v Speaker 1>that was just a thought experiment, but turned out that

0:48:33.840 --> 0:48:37.200
<v Speaker 1>that's actually the way a lot of this is a

0:48:37.239 --> 0:48:40.840
<v Speaker 1>lot of uh steganography happens today too, is that it

0:48:40.960 --> 0:48:43.279
<v Speaker 1>ends up being in the authentication kind of like the

0:48:43.320 --> 0:48:46.719
<v Speaker 1>digital water mark, rather than in the message itself. And

0:48:46.920 --> 0:48:49.799
<v Speaker 1>that is an example another example of how steganography and

0:48:49.880 --> 0:48:54.600
<v Speaker 1>cryptography work together. Yeah, because authentication is all about cryptography,

0:48:54.640 --> 0:48:58.239
<v Speaker 1>so it's it's manipulating the two. So let's talk about

0:48:58.280 --> 0:49:03.760
<v Speaker 1>people who actually use this stuff. Not a big surprise. Yeah,

0:49:03.960 --> 0:49:06.200
<v Speaker 1>that's a that's a big one. In fact, again, at

0:49:06.200 --> 0:49:09.520
<v Speaker 1>the Spy Museum, I saw example after example of this

0:49:09.600 --> 0:49:11.720
<v Speaker 1>kind of stuff. If you've never been to the Spy Museum,

0:49:11.719 --> 0:49:13.360
<v Speaker 1>by the way, if you ever go to Washington, d C.

0:49:14.160 --> 0:49:19.000
<v Speaker 1>I recommend it. Um. I recommend going early because it's

0:49:19.040 --> 0:49:21.600
<v Speaker 1>a very it's it's a museum that fills up with kids,

0:49:22.360 --> 0:49:26.640
<v Speaker 1>and kids are great, despite what I say about them,

0:49:27.680 --> 0:49:30.680
<v Speaker 1>but they do make it difficult to maneuver through the

0:49:30.840 --> 0:49:33.440
<v Speaker 1>museum and see everything. It sounds like a lot of

0:49:33.440 --> 0:49:37.040
<v Speaker 1>the stuff in the Spy Museum might be pretty technical

0:49:37.120 --> 0:49:39.160
<v Speaker 1>for a kid. Yeah, it can definitely go over a

0:49:39.200 --> 0:49:41.200
<v Speaker 1>kid's head. There's a lot of reading because there are

0:49:41.239 --> 0:49:45.720
<v Speaker 1>a lot of descriptions that explain what the various devices

0:49:45.760 --> 0:49:48.000
<v Speaker 1>and pictures and everything what they mean, and there's some

0:49:48.160 --> 0:49:51.680
<v Speaker 1>very interesting videos, but for kids they'd be really boring.

0:49:52.320 --> 0:49:54.640
<v Speaker 1>So it's one of those things where like the idea

0:49:54.760 --> 0:49:58.759
<v Speaker 1>of spies is really super sexy and exciting and oh,

0:49:59.000 --> 0:50:02.759
<v Speaker 1>James bond Is are gonna have fun. But ultimately I

0:50:02.800 --> 0:50:05.880
<v Speaker 1>think you need to be like a teenager or older.

0:50:06.080 --> 0:50:09.319
<v Speaker 1>Maybe maybe not necessarily a teenager, but like eleven or

0:50:09.320 --> 0:50:11.640
<v Speaker 1>twelve to really kind of start thinking, oh, this is

0:50:11.680 --> 0:50:14.200
<v Speaker 1>kind of cool. Younger, I think it gets lost on you,

0:50:14.239 --> 0:50:16.520
<v Speaker 1>although they have some cool interactive stuff too, but you

0:50:16.560 --> 0:50:19.120
<v Speaker 1>don't get to play with like shoeguns or anything. Now

0:50:19.200 --> 0:50:21.239
<v Speaker 1>that you don't get to play with shoeguns, but you

0:50:21.280 --> 0:50:24.239
<v Speaker 1>do get to assume a secret identity. They give you

0:50:24.280 --> 0:50:26.720
<v Speaker 1>a secret identity and you have to remember certain facts

0:50:26.800 --> 0:50:29.560
<v Speaker 1>about yourself so that if you're ever stopped and questioned,

0:50:30.160 --> 0:50:33.080
<v Speaker 1>you can answer with your cover. So if you forget

0:50:33.080 --> 0:50:40.560
<v Speaker 1>your cover, you're caught that So so here's an example

0:50:40.680 --> 0:50:43.960
<v Speaker 1>of spies who use steganography. In two thousand nine and

0:50:43.960 --> 0:50:48.280
<v Speaker 1>two thousand ten, the FBI arrested ten covert Russian sleeper

0:50:48.360 --> 0:50:53.600
<v Speaker 1>agents who had been communicating in multiple ways, including steganography. Uh,

0:50:53.600 --> 0:50:56.120
<v Speaker 1>they'd be posting those photos that I was talking about,

0:50:56.080 --> 0:50:57.640
<v Speaker 1>the same sort of thing. They would post photos to

0:50:57.719 --> 0:51:01.600
<v Speaker 1>public forums, which in fact include the secret messages that

0:51:01.680 --> 0:51:04.600
<v Speaker 1>could be picked up if you ran them through analysis.

0:51:05.120 --> 0:51:07.000
<v Speaker 1>But you know, if you use that software, you can

0:51:07.040 --> 0:51:09.000
<v Speaker 1>pick them up, but otherwise you probably wouldn't notice. They

0:51:09.000 --> 0:51:12.080
<v Speaker 1>also used other things like in this blink and they

0:51:12.080 --> 0:51:16.520
<v Speaker 1>would do secret bag swaps, like classic spy stuff like

0:51:16.920 --> 0:51:19.720
<v Speaker 1>we'll be to the trade station, I will give you bag,

0:51:19.920 --> 0:51:23.040
<v Speaker 1>you would walk away. They got discovered because of the

0:51:23.040 --> 0:51:26.200
<v Speaker 1>photos they were posting, right, Well, they that and the

0:51:26.239 --> 0:51:29.040
<v Speaker 1>fact that all right, so the photos you had to

0:51:29.120 --> 0:51:32.920
<v Speaker 1>run them through a particular piece of software to decode

0:51:32.960 --> 0:51:36.160
<v Speaker 1>what the message was, to pull out the letters that

0:51:36.200 --> 0:51:38.719
<v Speaker 1>were hidden inside these photos, right Because one of the

0:51:38.719 --> 0:51:42.600
<v Speaker 1>problems with with binary code is we humans, we don't

0:51:42.640 --> 0:51:45.640
<v Speaker 1>read it so well. So that's why we need software

0:51:45.680 --> 0:51:47.879
<v Speaker 1>to be able to pull that stuff and say, all right,

0:51:48.080 --> 0:51:50.800
<v Speaker 1>here are the bits that are important. Here's what translates into.

0:51:51.600 --> 0:51:54.560
<v Speaker 1>So one of the things they needed was security to

0:51:54.640 --> 0:52:00.120
<v Speaker 1>make sure people couldn't access the software that would decode everything.

0:52:00.719 --> 0:52:03.759
<v Speaker 1>So they had a password that all of them had

0:52:03.800 --> 0:52:06.200
<v Speaker 1>to share. It was the same password they would type

0:52:06.239 --> 0:52:10.120
<v Speaker 1>in to the software to allow them to decrypt something.

0:52:10.760 --> 0:52:13.400
<v Speaker 1>And it was a twenty seven character long password. So

0:52:13.440 --> 0:52:18.480
<v Speaker 1>that's pretty secure, except someone wrote it down, so the

0:52:18.520 --> 0:52:21.680
<v Speaker 1>FBI gets hold of the written password. By the way, folks,

0:52:21.719 --> 0:52:23.839
<v Speaker 1>if you write your password down and someone finds it,

0:52:24.040 --> 0:52:26.640
<v Speaker 1>guess what, You're not being secure. I don't care how

0:52:26.680 --> 0:52:29.360
<v Speaker 1>long your password is or how many upper and lower

0:52:29.400 --> 0:52:32.280
<v Speaker 1>case letters you throw in there. Uh. So the FBI

0:52:32.360 --> 0:52:35.799
<v Speaker 1>found the password, they were able to intercept messages, they

0:52:35.840 --> 0:52:38.440
<v Speaker 1>were able to round up these ten sleeper agents, and

0:52:38.600 --> 0:52:43.799
<v Speaker 1>ultimately they were exchanged in a prisoner swap with Russia. UH.

0:52:44.040 --> 0:52:47.840
<v Speaker 1>Russia had four prisoners, three of whom had been accused

0:52:47.880 --> 0:52:51.680
<v Speaker 1>of high treason, all of whom were Russian citizens, but

0:52:51.800 --> 0:52:54.280
<v Speaker 1>they had all been colluding in some way or another

0:52:54.400 --> 0:52:56.960
<v Speaker 1>or been accused of colluding with the United States or

0:52:56.960 --> 0:52:59.880
<v Speaker 1>the United Kingdom. So these four were swapped out for

0:52:59.920 --> 0:53:01.880
<v Speaker 1>the ten that were found in America. And it was

0:53:01.920 --> 0:53:07.279
<v Speaker 1>all done kind of quietly because there were still, I

0:53:07.320 --> 0:53:10.959
<v Speaker 1>mean there still are today UH tensions between the United

0:53:11.000 --> 0:53:15.920
<v Speaker 1>States and Russia, and no one wanted to make that worse. Yeah, man,

0:53:16.080 --> 0:53:19.520
<v Speaker 1>could you imagine being one of the ten agents and

0:53:19.600 --> 0:53:22.600
<v Speaker 1>you're worth not even being half a person. Well, and

0:53:23.160 --> 0:53:25.080
<v Speaker 1>not only that, but those ten people who went back

0:53:25.080 --> 0:53:28.600
<v Speaker 1>to Russia, they were not technically put in prison, but

0:53:28.640 --> 0:53:32.480
<v Speaker 1>they were detained for weeks for debrifing. So things did

0:53:32.480 --> 0:53:36.520
<v Speaker 1>not go well for them, not for all of them anywhere, now,

0:53:36.600 --> 0:53:39.040
<v Speaker 1>especially probably not for the one who wrote down the

0:53:39.040 --> 0:53:43.520
<v Speaker 1>past words. So then we have examples in military and government. Now,

0:53:43.560 --> 0:53:48.040
<v Speaker 1>governments traditionally aren't crazy about steganography software getting out into

0:53:48.040 --> 0:53:50.279
<v Speaker 1>the wild because they don't want people to be able

0:53:50.360 --> 0:53:55.520
<v Speaker 1>to use it. Yeah, especially foreign countries. They're actually have

0:53:55.600 --> 0:53:58.000
<v Speaker 1>been laws put in place to keep us from sending

0:53:58.480 --> 0:54:02.000
<v Speaker 1>strong encryption software. Yeah. There there's been a lot of

0:54:02.040 --> 0:54:04.719
<v Speaker 1>debate in government about whether or not it should be

0:54:04.800 --> 0:54:09.440
<v Speaker 1>legal to export uh encryption software. And there's been a

0:54:09.480 --> 0:54:12.640
<v Speaker 1>lot of argument on either case, and only that the

0:54:12.719 --> 0:54:17.799
<v Speaker 1>government wasn't crazy about having public arguments about this, or

0:54:17.800 --> 0:54:21.080
<v Speaker 1>having arguments on the public record, because that would mean

0:54:21.120 --> 0:54:23.840
<v Speaker 1>people would find out that such a thing even existed,

0:54:24.520 --> 0:54:27.080
<v Speaker 1>and they were worried that even people finding out that

0:54:27.200 --> 0:54:32.080
<v Speaker 1>such software was possible would create more incidents of people

0:54:32.200 --> 0:54:36.520
<v Speaker 1>using it. So there was a pro probably yeah, but

0:54:36.520 --> 0:54:37.960
<v Speaker 1>but it was it was a sort of a catch

0:54:38.000 --> 0:54:39.799
<v Speaker 1>twenty two. You know. They were like, well, we need

0:54:39.840 --> 0:54:41.640
<v Speaker 1>to talk about this, but we can't talk about it

0:54:41.680 --> 0:54:43.600
<v Speaker 1>because if people know we talked about it, they'll know

0:54:43.640 --> 0:54:47.160
<v Speaker 1>that it exists. Um. I have a quote from a

0:54:48.200 --> 0:54:51.959
<v Speaker 1>meeting about how to handle this that said, a substantial

0:54:52.000 --> 0:54:55.200
<v Speaker 1>amount of material is not appropriate for a public meeting.

0:54:55.280 --> 0:54:57.919
<v Speaker 1>That's exactly what I'm talking about, Like, we we can't

0:54:57.960 --> 0:55:00.480
<v Speaker 1>debate this because if it's on the public record, it

0:55:00.520 --> 0:55:06.879
<v Speaker 1>will cause problems. Um. Now, despite that, there ultimately there

0:55:06.920 --> 0:55:12.320
<v Speaker 1>would be UH allowances for exporting this encryption software because

0:55:12.440 --> 0:55:15.279
<v Speaker 1>businesses have to do business, um, and we want our

0:55:15.320 --> 0:55:19.360
<v Speaker 1>businesses to be secure. Yeah. So then we have terrorists

0:55:19.360 --> 0:55:22.600
<v Speaker 1>who also have used steganography. The there was there were

0:55:22.640 --> 0:55:26.759
<v Speaker 1>reports after the nine eleven attacks that Al Qaeda had

0:55:26.760 --> 0:55:30.320
<v Speaker 1>been using steganography techniques to communicate. They were actually supposedly

0:55:30.400 --> 0:55:34.000
<v Speaker 1>using pornography. They were hiding their messages there because who

0:55:34.000 --> 0:55:38.239
<v Speaker 1>would think to look for secret messages in that very

0:55:38.400 --> 0:55:41.160
<v Speaker 1>very much so, and also they were thought to be

0:55:41.239 --> 0:55:44.080
<v Speaker 1>less likely to have used them because it goes against

0:55:44.080 --> 0:55:48.400
<v Speaker 1>their very world view. But that's what made it a

0:55:48.440 --> 0:55:50.720
<v Speaker 1>perfect place to hide a message. And people were worried

0:55:50.760 --> 0:55:55.279
<v Speaker 1>that maybe they got the tools from us, right yeah,

0:55:55.360 --> 0:55:58.600
<v Speaker 1>they were worried that they got the encryption tools from

0:55:58.600 --> 0:56:01.560
<v Speaker 1>those same companies that had argued that they should be

0:56:01.600 --> 0:56:05.360
<v Speaker 1>allowed to export their products, and in fact, it created

0:56:05.400 --> 0:56:09.440
<v Speaker 1>a lot of soul searching on the parts of those people.

0:56:09.560 --> 0:56:12.759
<v Speaker 1>They said, well, are we responsible, And ultimately they came

0:56:12.840 --> 0:56:16.359
<v Speaker 1>up with the conclusion that even if a ban had

0:56:16.400 --> 0:56:18.400
<v Speaker 1>been put in place, even if they had never been

0:56:18.440 --> 0:56:21.200
<v Speaker 1>allowed to sell their products, someone else would have come

0:56:21.239 --> 0:56:23.760
<v Speaker 1>up with the same thing, because there was a need.

0:56:24.120 --> 0:56:26.800
<v Speaker 1>And so once you identify a need, someone's going to

0:56:26.840 --> 0:56:29.640
<v Speaker 1>come up with a solution. And there are people who

0:56:29.680 --> 0:56:32.080
<v Speaker 1>send stuff they shouldn't send all the time, just just

0:56:32.160 --> 0:56:35.960
<v Speaker 1>the challenging authority aspect of it. They're like, oh, we

0:56:35.960 --> 0:56:37.919
<v Speaker 1>shouldn't be using this or giving it to other people,

0:56:38.040 --> 0:56:41.319
<v Speaker 1>so we're going to write right yeah, there's the whole

0:56:41.400 --> 0:56:44.600
<v Speaker 1>argument of information wants to be free. And with that

0:56:44.680 --> 0:56:46.839
<v Speaker 1>you would say like, well, if you're the harder you

0:56:46.920 --> 0:56:49.680
<v Speaker 1>try to keep information away from people, the harder people

0:56:49.680 --> 0:56:52.000
<v Speaker 1>will try to make sure they get that information. But

0:56:52.800 --> 0:56:57.399
<v Speaker 1>having encryption software go out to foreign places and being

0:56:57.440 --> 0:57:00.799
<v Speaker 1>developed in other places than the US means that we

0:57:01.000 --> 0:57:06.279
<v Speaker 1>have drive to create better encryption, right and decryption and decryption. Yeah,

0:57:06.400 --> 0:57:10.680
<v Speaker 1>so it actually it pushes it pushes the art forward.

0:57:11.160 --> 0:57:13.799
<v Speaker 1>And this is something we also see an artificial intelligence,

0:57:13.840 --> 0:57:17.520
<v Speaker 1>where we see, as one part of security gets better,

0:57:18.240 --> 0:57:22.600
<v Speaker 1>uh than people find new ways to make that security vulnerable,

0:57:22.680 --> 0:57:28.400
<v Speaker 1>and then the security gets better. And while individual attacks

0:57:28.680 --> 0:57:33.280
<v Speaker 1>are terrible or individual like vulnerabilities are terrible, the overall

0:57:33.320 --> 0:57:37.680
<v Speaker 1>story is that stuff gets better over time. But that's

0:57:37.880 --> 0:57:40.200
<v Speaker 1>you know, that's a hard view to take, depending upon

0:57:40.280 --> 0:57:44.600
<v Speaker 1>the particulars in this case, a very hard one to take. Also,

0:57:44.960 --> 0:57:48.640
<v Speaker 1>writers and journalists have used teganography sometimes just to entertain,

0:57:48.840 --> 0:57:55.800
<v Speaker 1>Like there's this guy, uh Brown Dan, Yeah, he wrote,

0:57:55.840 --> 0:57:58.400
<v Speaker 1>he wrote a couple of books like Angels and Demons

0:57:58.440 --> 0:58:02.160
<v Speaker 1>and Da Vinci. Ow it's almost said Da Vinci's Notebook.

0:58:02.200 --> 0:58:07.120
<v Speaker 1>That's totally different but really good. Yeah. Some we're familiar

0:58:07.160 --> 0:58:09.440
<v Speaker 1>with their work there, but it's not the same. It's

0:58:09.480 --> 0:58:12.320
<v Speaker 1>not the same. They might have messages in their music, well,

0:58:12.400 --> 0:58:14.880
<v Speaker 1>I'm sure there are. There are some probably some very

0:58:14.920 --> 0:58:18.680
<v Speaker 1>important messages and things like the Magic Castle in the Sky,

0:58:18.720 --> 0:58:22.680
<v Speaker 1>so entitle of the song. But um, yes, so. Dan

0:58:22.720 --> 0:58:25.320
<v Speaker 1>Brown of course very famous for writing these books, and

0:58:25.320 --> 0:58:29.520
<v Speaker 1>there were lots of examples of steganography, in fact, key

0:58:29.600 --> 0:58:34.000
<v Speaker 1>plot points revolving around uh, steganography, and various kinds of

0:58:34.320 --> 0:58:37.880
<v Speaker 1>religious iconography and other elements too. I remember in Angels

0:58:37.880 --> 0:58:40.160
<v Speaker 1>and Demons. I think it was Angels and Demons where

0:58:40.560 --> 0:58:43.360
<v Speaker 1>I got irritated by one of them because it was

0:58:43.440 --> 0:58:46.680
<v Speaker 1>a brand like a as in something you would brand

0:58:46.720 --> 0:58:52.320
<v Speaker 1>an animal with heat up and right, uh, and if

0:58:52.360 --> 0:58:56.520
<v Speaker 1>it's spelled out Illuminati. And then you discovered that if

0:58:56.560 --> 0:58:59.160
<v Speaker 1>you turned it degrees so, in other words, if you

0:58:59.160 --> 0:59:02.280
<v Speaker 1>turned it upside down, it's still spelled Illuminati. And then

0:59:02.280 --> 0:59:04.640
<v Speaker 1>the suggestion was because it was because the way the

0:59:05.080 --> 0:59:08.800
<v Speaker 1>font was designed and the way the way it was

0:59:08.800 --> 0:59:12.320
<v Speaker 1>was that only someone with the secret Illuminati knowledge could

0:59:12.320 --> 0:59:16.280
<v Speaker 1>ever make this thing. And I thought, that's obviously crap,

0:59:16.320 --> 0:59:19.280
<v Speaker 1>because you made it, Dan Brown, in order for this

0:59:19.320 --> 0:59:23.080
<v Speaker 1>to happen. So I don't know how you could suggest

0:59:23.120 --> 0:59:25.680
<v Speaker 1>that only one human being would or only one group

0:59:25.720 --> 0:59:27.680
<v Speaker 1>of human beings would be clever enough to do this.

0:59:28.440 --> 0:59:32.240
<v Speaker 1>That's demonstrably false. But anyway, it was meant for. Yeah,

0:59:32.240 --> 0:59:36.080
<v Speaker 1>it's meant to be a good story. Also, artists obviously

0:59:36.280 --> 0:59:39.880
<v Speaker 1>very important in stagonography, particularly in the old ways, where

0:59:39.880 --> 0:59:42.680
<v Speaker 1>you had to hide a message within something, you know,

0:59:43.000 --> 0:59:45.120
<v Speaker 1>and sometimes it was just done for entertainment. Sometimes it

0:59:45.160 --> 0:59:48.800
<v Speaker 1>was done for specific purposes to hide things. Um. I

0:59:48.840 --> 0:59:51.320
<v Speaker 1>had heard that da Vinci had a lot of secret

0:59:51.320 --> 0:59:53.880
<v Speaker 1>messages in his artwork. Yeah, we we hear that from

0:59:53.960 --> 0:59:57.720
<v Speaker 1>da Vinci himself sometimes. Ariel and I have both worked

0:59:57.760 --> 1:00:00.320
<v Speaker 1>for the Georgia Renaissance Festival, and another a mutual friend

1:00:00.320 --> 1:00:04.040
<v Speaker 1>of ours, plays a young da Vinci very well. Yeah,

1:00:04.320 --> 1:00:06.360
<v Speaker 1>so if you ask him about his secret messages, he

1:00:06.400 --> 1:00:10.400
<v Speaker 1>has hilarious responses for that. But the the what you're

1:00:10.400 --> 1:00:12.440
<v Speaker 1>alluding to, of course, I mean, there are a lot

1:00:12.480 --> 1:00:17.000
<v Speaker 1>of theories I shouldn't say, hypotheses about secret messages hidden

1:00:17.000 --> 1:00:19.440
<v Speaker 1>in things like The Last Supper, which is one of

1:00:19.440 --> 1:00:22.840
<v Speaker 1>the most famous paintings Da Vinci ever produced. UM, And

1:00:22.840 --> 1:00:26.040
<v Speaker 1>of course, uh, the Da Vinci Code ended up talking

1:00:26.080 --> 1:00:30.440
<v Speaker 1>a lot about that, obviously. Uh. One of the hypotheses

1:00:30.480 --> 1:00:33.280
<v Speaker 1>I saw which was interesting, I was put forward by

1:00:33.320 --> 1:00:38.040
<v Speaker 1>an uh I T guy in information uh information technology

1:00:38.200 --> 1:00:45.080
<v Speaker 1>professional who had created a mirror image of the Last supper,

1:00:45.160 --> 1:00:48.360
<v Speaker 1>so essentially took like imagine you have photoshop and you

1:00:48.480 --> 1:00:51.200
<v Speaker 1>copy the image, but then you flip it so now

1:00:51.280 --> 1:00:54.080
<v Speaker 1>it's it's inverted the other way, and then you make

1:00:54.120 --> 1:00:56.920
<v Speaker 1>it translucent, and then you lay it back down on

1:00:56.960 --> 1:00:59.360
<v Speaker 1>top of the original image. So now you've got this

1:00:59.520 --> 1:01:02.120
<v Speaker 1>doubled image on top of one another. And then said,

1:01:02.280 --> 1:01:04.520
<v Speaker 1>look at all the interesting things that pop up when

1:01:04.520 --> 1:01:07.840
<v Speaker 1>you do this. There were figures on either side that

1:01:07.920 --> 1:01:11.920
<v Speaker 1>were said to look like Night's templar. There was in

1:01:12.000 --> 1:01:14.640
<v Speaker 1>the center in front of Jesus there appeared to be

1:01:14.680 --> 1:01:19.440
<v Speaker 1>a chalice like perhaps it's the Holy Grail and this

1:01:19.560 --> 1:01:21.160
<v Speaker 1>kind of thing, and that there appeared to be a

1:01:21.160 --> 1:01:24.760
<v Speaker 1>figure standing behind Jesus holding a baby. Uh. A lot

1:01:24.760 --> 1:01:27.920
<v Speaker 1>of other elements that were supposedly brought to light. But

1:01:28.200 --> 1:01:31.400
<v Speaker 1>that raises the question one, how could da Vinci have

1:01:31.440 --> 1:01:35.280
<v Speaker 1>done this himself? Now, he was known for mirror writing,

1:01:35.520 --> 1:01:37.280
<v Speaker 1>where he could write with both hands, and he could

1:01:37.320 --> 1:01:39.840
<v Speaker 1>right right to left and left to right simultaneas. He

1:01:39.840 --> 1:01:42.000
<v Speaker 1>would have had to have painted two pictures left to

1:01:42.080 --> 1:01:43.640
<v Speaker 1>right and right to left at the same time and

1:01:43.720 --> 1:01:45.960
<v Speaker 1>laid them over each other. He would have to paint

1:01:46.000 --> 1:01:50.400
<v Speaker 1>two identical cultures. Yeah, and and who would ever find

1:01:50.440 --> 1:01:53.560
<v Speaker 1>out about this? I mean, there's no way to to

1:01:53.840 --> 1:01:56.800
<v Speaker 1>see the message. The whole point of steganography is to

1:01:56.880 --> 1:02:00.480
<v Speaker 1>communicate to someone. If no one knows that there's a

1:02:00.520 --> 1:02:03.480
<v Speaker 1>message there and no one knows how to get that message,

1:02:03.480 --> 1:02:07.560
<v Speaker 1>you're not communicating, you're just shouting, you are I mean

1:02:08.280 --> 1:02:10.720
<v Speaker 1>he could have put that message in there just too

1:02:11.360 --> 1:02:12.919
<v Speaker 1>or not put a message in there, but put something

1:02:12.920 --> 1:02:15.120
<v Speaker 1>in there to seem like a message, just to mess

1:02:15.160 --> 1:02:18.600
<v Speaker 1>with people. That's possible. But yeah, most art historians kind

1:02:18.600 --> 1:02:22.520
<v Speaker 1>of dismissed these various hypotheses. Doesn't mean that they're all false.

1:02:22.560 --> 1:02:24.520
<v Speaker 1>It may mean there may have been things that da

1:02:24.560 --> 1:02:28.440
<v Speaker 1>Vinci threw into some uh either is sketches or his

1:02:28.520 --> 1:02:32.640
<v Speaker 1>paintings or whatever that we're either just amusements or you know,

1:02:32.680 --> 1:02:35.560
<v Speaker 1>they weren't intended to be anything secret. It was just

1:02:35.600 --> 1:02:39.680
<v Speaker 1>something that he incorporated into the design. It's possible, and

1:02:39.720 --> 1:02:44.320
<v Speaker 1>then you know, depending upon the guy, probable da Vinci

1:02:44.480 --> 1:02:47.080
<v Speaker 1>was it was a bit of an eccentric isn't there

1:02:47.120 --> 1:02:52.760
<v Speaker 1>an article about this? On The article is is how

1:02:53.120 --> 1:02:56.360
<v Speaker 1>the da Vinci code doesn't work? So if you want

1:02:56.400 --> 1:02:58.920
<v Speaker 1>to know more about that, Yeah, there's also an article

1:02:59.000 --> 1:03:01.880
<v Speaker 1>about are there hidden messages in the Last Supper? We

1:03:01.920 --> 1:03:03.680
<v Speaker 1>have articles on both of those things, so you should

1:03:03.680 --> 1:03:06.640
<v Speaker 1>definitely check those out at how stuff works dot com. Uh.

1:03:06.720 --> 1:03:09.160
<v Speaker 1>Then there are other examples, like one of my favorites

1:03:09.240 --> 1:03:12.920
<v Speaker 1>is Mad magazines fold in, which was created by the

1:03:12.960 --> 1:03:19.920
<v Speaker 1>writer and artist Al Jaffe, who created originally in nine four.

1:03:20.720 --> 1:03:24.680
<v Speaker 1>It's been in practically every Mad magazine since then. And

1:03:24.840 --> 1:03:27.320
<v Speaker 1>if you've never seen a fold in on Mad Magazine,

1:03:27.400 --> 1:03:29.760
<v Speaker 1>then and I'm talking about the actual magazine, not the

1:03:30.120 --> 1:03:34.320
<v Speaker 1>television series, not Mad TV, and not a digital copy

1:03:34.320 --> 1:03:35.880
<v Speaker 1>of the night No, No, you need the you need

1:03:35.920 --> 1:03:39.240
<v Speaker 1>the physical one. It is the the inside back cover

1:03:39.400 --> 1:03:41.440
<v Speaker 1>is the fold in, and it has two points, and

1:03:41.440 --> 1:03:45.000
<v Speaker 1>you're supposed to fold one point over to the second point,

1:03:45.520 --> 1:03:48.080
<v Speaker 1>and it creates a new image. So when you look

1:03:48.120 --> 1:03:51.080
<v Speaker 1>at it, normally it's one image, and it's the setup

1:03:51.080 --> 1:03:53.760
<v Speaker 1>for a joke, and when you do the fold then

1:03:53.800 --> 1:03:56.960
<v Speaker 1>it's the punchline to that joke. And usually it's it's

1:03:57.000 --> 1:03:59.959
<v Speaker 1>a twist on whatever the big picture is. And actually, Jeff,

1:04:00.040 --> 1:04:01.960
<v Speaker 1>he said, if I didn't have to worry about the

1:04:01.960 --> 1:04:04.240
<v Speaker 1>big picture as opposed to a little picture, I could

1:04:04.240 --> 1:04:06.640
<v Speaker 1>turn out like twelve of these a day, but getting

1:04:06.680 --> 1:04:09.200
<v Speaker 1>them to work together takes a lot more planning. And

1:04:09.560 --> 1:04:12.400
<v Speaker 1>the way he did it, he drew them all by

1:04:12.480 --> 1:04:16.280
<v Speaker 1>hand on a surface that did not fold, so it

1:04:16.320 --> 1:04:19.960
<v Speaker 1>had to look right when it was folded, but he

1:04:20.160 --> 1:04:23.040
<v Speaker 1>while he was drawing it, I couldn't fold it to

1:04:23.040 --> 1:04:25.920
<v Speaker 1>make sure it was working. After after I encountered my

1:04:26.000 --> 1:04:29.440
<v Speaker 1>first folding in a Mad magazine, I actually went into

1:04:29.480 --> 1:04:31.840
<v Speaker 1>a Were's Waldo book and tried to do it in

1:04:31.920 --> 1:04:35.400
<v Speaker 1>there and didn't work. No. No, I didn't find Waldo

1:04:35.440 --> 1:04:40.000
<v Speaker 1>any faster. No, I didn't find any secret punchline. That's

1:04:40.000 --> 1:04:42.720
<v Speaker 1>a little disappointed. He did, however, ruin the Wear's Waldo books,

1:04:42.720 --> 1:04:48.160
<v Speaker 1>so there's that. Uh. Another Man magazine contributor, Sergio Araganez,

1:04:48.440 --> 1:04:51.840
<v Speaker 1>he used to draw a comic book called Grew the Wanderer,

1:04:52.400 --> 1:04:54.840
<v Speaker 1>which was about it's very cartoony. If you've ever seen

1:04:54.880 --> 1:04:57.880
<v Speaker 1>Sergio Raganez his art style, you know it's cartoony. And

1:04:57.880 --> 1:05:02.240
<v Speaker 1>it was about a buffoonish barbarian character, very dim witted

1:05:02.320 --> 1:05:07.040
<v Speaker 1>character named Grew g r o O and very silly.

1:05:07.080 --> 1:05:11.280
<v Speaker 1>But he would hide a message in every comic book. Uh.

1:05:11.640 --> 1:05:15.080
<v Speaker 1>Usually said this is the secret message or something like

1:05:15.200 --> 1:05:17.800
<v Speaker 1>good job, you found the secret message, but it would

1:05:17.800 --> 1:05:20.760
<v Speaker 1>always be incorporated into the artwork in some way, like

1:05:20.800 --> 1:05:22.920
<v Speaker 1>in some cases it would be written into the scroll

1:05:23.000 --> 1:05:27.080
<v Speaker 1>work on a really elaborate uh fretboard for a loot

1:05:27.680 --> 1:05:29.959
<v Speaker 1>something like that, so you would have to really look

1:05:30.000 --> 1:05:32.520
<v Speaker 1>for it. And again, if you didn't know there was

1:05:32.560 --> 1:05:36.000
<v Speaker 1>a message there, you probably never would have seen it. Yeah,

1:05:36.040 --> 1:05:37.800
<v Speaker 1>I feel like a lot of comics have done that

1:05:37.880 --> 1:05:39.720
<v Speaker 1>here and there. If you look really closely, you can

1:05:39.760 --> 1:05:41.720
<v Speaker 1>find I know there are some comics who hide their

1:05:41.800 --> 1:05:45.800
<v Speaker 1>name in pictures and the artwork as well, but there

1:05:45.840 --> 1:05:49.240
<v Speaker 1>are other people who use them too, like system administrators

1:05:49.560 --> 1:05:52.680
<v Speaker 1>UM just to make encryption extra secure, like we've talked

1:05:52.680 --> 1:05:57.080
<v Speaker 1>about before with authentication codes UM, and then like people

1:05:57.160 --> 1:06:00.240
<v Speaker 1>who just want to protect their intellectual property. You can

1:06:00.320 --> 1:06:02.360
<v Speaker 1>even do it for your own personal journal. If if

1:06:02.360 --> 1:06:04.280
<v Speaker 1>you write in a diary and you don't want anybody

1:06:04.280 --> 1:06:07.040
<v Speaker 1>to read it, you can read what you really want

1:06:07.040 --> 1:06:09.160
<v Speaker 1>to say. You can hide it in there, right, So

1:06:09.240 --> 1:06:11.640
<v Speaker 1>the stuff that you write could be, you know, whatever,

1:06:11.840 --> 1:06:14.959
<v Speaker 1>but the actual meaning, the things that you truly want

1:06:15.000 --> 1:06:19.080
<v Speaker 1>to preserve for yourself, you could hide away from from

1:06:19.120 --> 1:06:22.400
<v Speaker 1>people prying eyes. So if you you know, if you

1:06:22.560 --> 1:06:25.480
<v Speaker 1>if you're tired of losing that little key to your

1:06:25.560 --> 1:06:28.520
<v Speaker 1>lockable journal. I know I gave up years ago. I

1:06:28.520 --> 1:06:31.640
<v Speaker 1>have no idea what's in that book anymore? Um, probably

1:06:31.760 --> 1:06:34.920
<v Speaker 1>best left unknown. Probably, you know, my past is a

1:06:34.920 --> 1:06:37.800
<v Speaker 1>shady one at best. So that kind of wraps up

1:06:37.800 --> 1:06:41.080
<v Speaker 1>this discussion about steganography. What it is, who uses it,

1:06:41.440 --> 1:06:44.600
<v Speaker 1>you know, what goes into it. It is a fascinating field.

1:06:44.680 --> 1:06:47.320
<v Speaker 1>I mean again, the idea of creating a way to

1:06:47.360 --> 1:06:51.760
<v Speaker 1>communicate without anyone ever being aware that it was an

1:06:51.920 --> 1:06:56.920
<v Speaker 1>intentional communication is I mean, it's kind of kind of awesome,

1:06:57.000 --> 1:06:59.320
<v Speaker 1>it really is. And the numerous ways that people have

1:06:59.400 --> 1:07:02.880
<v Speaker 1>come up with to do steganography is it's just mind blowing.

1:07:02.920 --> 1:07:06.280
<v Speaker 1>I'm not nearly that creative, no, I well, mostly I

1:07:06.320 --> 1:07:08.600
<v Speaker 1>don't have a lot of secret messages to send to people,

1:07:08.640 --> 1:07:10.280
<v Speaker 1>so I don't have a whole lot of occasion to

1:07:10.320 --> 1:07:13.640
<v Speaker 1>think on it. But yeah, it really does show people's

1:07:13.760 --> 1:07:17.480
<v Speaker 1>ingenuity to come up with new ways to hide things. Well, Ariel,

1:07:17.720 --> 1:07:21.240
<v Speaker 1>thank you so much for joining me on this episode.

1:07:21.240 --> 1:07:23.240
<v Speaker 1>Thank you so much for letting me join you. Jonathan.

1:07:23.240 --> 1:07:25.480
<v Speaker 1>It's been a lot of fun. Yeah, and guys, if

1:07:25.480 --> 1:07:27.920
<v Speaker 1>you want to hear more of arial stuff, we actually

1:07:27.960 --> 1:07:32.360
<v Speaker 1>do a podcast together, the Large nerd Drawn Collider Podcast. Yes,

1:07:32.440 --> 1:07:35.720
<v Speaker 1>it's all about geeky things. Yeah, it's geek culture. It's

1:07:35.960 --> 1:07:39.800
<v Speaker 1>a lot of movies, comic books, television shows, geek news.

1:07:40.440 --> 1:07:43.200
<v Speaker 1>Also we do we do a video series as well.

1:07:43.240 --> 1:07:45.920
<v Speaker 1>That's it's also called The Large Nerddron Collider. It's a

1:07:45.920 --> 1:07:49.360
<v Speaker 1>little different. Yeah, it's it's taking two geeky topics that

1:07:49.400 --> 1:07:52.320
<v Speaker 1>we love and mashing them together into this new, wonderful,

1:07:52.360 --> 1:07:56.240
<v Speaker 1>horrible creation. Yeah. I think my favorite I write a

1:07:56.320 --> 1:07:58.120
<v Speaker 1>lot of the scripts, and I think my favorite that

1:07:58.160 --> 1:08:00.040
<v Speaker 1>I ever wrote, which is I know it's going and

1:08:00.160 --> 1:08:02.120
<v Speaker 1>jerk thing to say, but I think my favorite one

1:08:02.120 --> 1:08:05.120
<v Speaker 1>I ever wrote was one about Game of Brones and

1:08:05.160 --> 1:08:07.760
<v Speaker 1>Firefly what would happen if you combined the two? And

1:08:07.920 --> 1:08:10.360
<v Speaker 1>its answer is just a lot of death. Yeah. Yeah,

1:08:10.520 --> 1:08:14.360
<v Speaker 1>so spoiler alert, don't get attached anybody. Uh Yeah. So

1:08:14.400 --> 1:08:16.280
<v Speaker 1>that video series is on YouTube. You can check that

1:08:16.320 --> 1:08:17.840
<v Speaker 1>out as well. And of course, if you want to

1:08:17.880 --> 1:08:21.400
<v Speaker 1>suggest a topic, perhaps it's one that I can address

1:08:21.680 --> 1:08:24.840
<v Speaker 1>in years to come. Sorry, Peter, that took so long

1:08:24.880 --> 1:08:27.280
<v Speaker 1>for me to respond to your email. Uh. You can

1:08:27.280 --> 1:08:30.200
<v Speaker 1>send me a message that email addresses tech stuff at

1:08:30.240 --> 1:08:32.880
<v Speaker 1>how stuff works dot com, or drop me a line

1:08:32.920 --> 1:08:35.760
<v Speaker 1>on Facebook, Twitter, or Tumbler. To handle at all three

1:08:35.760 --> 1:08:39.280
<v Speaker 1>of those is text stuff H s W and I'll

1:08:39.280 --> 1:08:45.920
<v Speaker 1>talk to you again, really so. For more on this

1:08:46.120 --> 1:08:58.440
<v Speaker 1>and bathans of other topics, stuff works dot com