WEBVTT - TechStuff Classic: How Steganography Works

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<v Speaker 1>Welcome to tech Stuff, a production from my Heart Radio.

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<v Speaker 1>Hey there, and welcome to tech Stuff. I'm your host,

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<v Speaker 1>Jonathan Strickland. I'm an executive producer with iHeart Radio and

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<v Speaker 1>how Tech Arenia. Well, it is time for a classic

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<v Speaker 1>episode of tech Stuff. This episode originally published on April

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<v Speaker 1>fift two thousand fifteen. It is titled how Steganography Works

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<v Speaker 1>and it is not a Dinosaur. I can't remember if

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<v Speaker 1>actually made that joke in this episode. I guess we're

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<v Speaker 1>gonna find out. Let's listen. This is an ancient listener request, folks. So, Peter,

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<v Speaker 1>I apologize that took so long for us to get there,

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<v Speaker 1>but I'm really excited that we get to cover it today.

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<v Speaker 1>Here's what Peter wrote. He said, I recently bought a

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<v Speaker 1>book called Data Hiding that is about steganography. I look

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<v Speaker 1>to see if this is something you have covered, but

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<v Speaker 1>found you had not. I think that this would be

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<v Speaker 1>an extremely interesting topic. You would be able to cover

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<v Speaker 1>the ways in which data can be hidden, as well

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<v Speaker 1>as who uses such techniques like al Qaeda, the n

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<v Speaker 1>s A, malware, authors, hobbyists, et cetera. Yeah, we're going

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<v Speaker 1>to cover steganography, which is not what I originally thought

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<v Speaker 1>it was. I originally thought it was the study of

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<v Speaker 1>Stegosauri stegasaurces. Yeah, I thought it was the study of

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<v Speaker 1>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 are 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 cinder 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 whatever, Like,

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<v Speaker 1>it could be a painting, the boring note about your

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<v Speaker 1>cousin's children, or it could be a soccer ball that

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<v Speaker 1>happens to have a secret assage written on the inside

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<v Speaker 1>of it. It could be that Wilson in Castaway was

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<v Speaker 1>in fact Stagana Graham, which is the other element. So,

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<v Speaker 1>by the way, there are a lot of Greek words

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<v Speaker 1>and Greek names and some Roman names, so Latin as well,

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<v Speaker 1>that's going to be all of those are gonna be

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<v Speaker 1>popping up. There also a couple of other names from

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<v Speaker 1>other cultures. I'm an ignorant American, so my pronunciation is

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<v Speaker 1>going to be awful, and I can barely grasp the

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<v Speaker 1>American language, which I've grown up with all my life,

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<v Speaker 1>so mine will be work. Yeah, So just just letting

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<v Speaker 1>you guys know that ahead of time. So the ski

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<v Speaker 1>staganogram say, I'm never going to get that, otherwise known

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<v Speaker 1>as the secret message. We're just gonna I'm going to

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<v Speaker 1>call it secrets just 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 left,

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<v Speaker 1>if I'm sending a message to Ariel, and Ariel and

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<v Speaker 1>I have decided ahead of time, Hey, if I ever

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<v Speaker 1>need to send you a message, this is how I'm

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<v Speaker 1>going to do it, and this is how you're going

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<v Speaker 1>to see what the message is, then we're okay. But

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<v Speaker 1>if if it's a situation where Ariel and I have

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<v Speaker 1>been separated for a long time and I need to

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<v Speaker 1>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 there, wash the wax off,

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<v Speaker 1>the Yeah sure, yeah, I mean just in general. So

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<v Speaker 1>we've got the elements here. Those are your basic elements

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<v Speaker 1>to to have Steganography actually makes sense, And now we

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<v Speaker 1>need to talk about the difference between that and a

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<v Speaker 1>related art cryptography, which, yes, cryptography is the art of

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<v Speaker 1>making and solving codes. Uh, but anybody can see that

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<v Speaker 1>it's a code. Right, So if I send a coded

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<v Speaker 1>message to arial, it may be that any third party

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<v Speaker 1>can't see what the message is, but they know I'm

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<v Speaker 1>trying to communicate to her, Yeah, because why else would

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<v Speaker 1>he send me a piece of paper that says music

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<v Speaker 1>of yeh, unless I've just fallen asleep on my keyboard,

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<v Speaker 1>then clearly I'm trying to say something. So and then

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<v Speaker 1>I'm just wasting my time trying to decipher. Right. So,

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<v Speaker 1>cryptography keys in people that something's going on. It lets

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<v Speaker 1>people know there's some sort of communication. And uh. You

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<v Speaker 1>might have a pretty simple type of code, like a

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<v Speaker 1>simple cipher where you know the old classic uh substitution

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<v Speaker 1>cipher where you substitute one letter for another, the simplest

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<v Speaker 1>being let's shift all the letters over by one. So

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<v Speaker 1>and uh, whenever I write the letter B, I really

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<v Speaker 1>mean the letter a. Whenever I write the letter C,

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<v Speaker 1>I really mean the letter be. 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, had 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>had three different dials that they had set. And then

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<v Speaker 1>I had a typewriter and a bunch of lamps and

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<v Speaker 1>when you pressed down a key of a letter, a

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<v Speaker 1>lamp would light up, indicating a different letter. So let's

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<v Speaker 1>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, and my message would

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<v Speaker 1>be nonsensical, both decrypted and encrypted. Yeah, exactly, that that is.

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<v Speaker 1>That's the reason why the Germans were using a machine

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<v Speaker 1>so that way it could be predictable, but only if

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<v Speaker 1>both parties had the same style of Enigma machine and

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<v Speaker 1>they both knew what the initial settings were, so part

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<v Speaker 1>of the communication would include a a key saying this

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<v Speaker 1>is what you need to set it to. Although technically

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<v Speaker 1>they were all supposed to have a communication telling them

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<v Speaker 1>what settings to use each day, and they were never

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<v Speaker 1>supposed to repeat those settings. Eventually people got lazy, and

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<v Speaker 1>that's how those codes were eventually broken by Alan Turing,

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<v Speaker 1>which you can see in that film, the imitation game,

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<v Speaker 1>the imitation game exactly. So steganography obviously is different from cryptography,

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<v Speaker 1>and that yes, you're still sending secret messages, but the

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<v Speaker 1>message itself, the existence of the message is secret. Anybody,

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<v Speaker 1>any layman looking at the message or the photo or

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<v Speaker 1>the paper won't know it's there, right, So you you

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<v Speaker 1>can still encrypt it. You can still use cryptography. In fact,

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<v Speaker 1>using both together makes a lot of sense. But ultimately

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<v Speaker 1>with steganography, if you've hidden the message well enough and

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<v Speaker 1>people are not if people don't know to look for it,

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<v Speaker 1>it's safe to be in plain text to whomever you're

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<v Speaker 1>sending it to, depending upon what method you use, because

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<v Speaker 1>there are a lot of different ones, right um um.

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<v Speaker 1>A great way to further explain it is to go

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<v Speaker 1>back to the Greek. Cryptography means secret writing and stag

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<v Speaker 1>atography means covered writing. I pause there because I was

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<v Speaker 1>really surprised I said it correctly. Well, every time I

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<v Speaker 1>say it correctly, I will also be surprised. Uh yeah,

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<v Speaker 1>So that really that gets down to the heart of it, right,

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<v Speaker 1>And the combination of the two allows you to have

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<v Speaker 1>more secure communication. Now, there's an art to finding hidden

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<v Speaker 1>messages that have been concealed in this way. Yes, it

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<v Speaker 1>is called stag analysis, which I tried to look up

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<v Speaker 1>what the Greek of that meant, and it meant covered

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<v Speaker 1>breaking up, loosening of Yeah, so it's it's all very repetitive.

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<v Speaker 1>It just means you're uncovering the secret message, right. So

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<v Speaker 1>depending upon the type of uh steganogram that has been sent,

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<v Speaker 1>you would use a different method to find the meaning.

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<v Speaker 1>So when we're talking about the modern version of steganography,

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<v Speaker 1>we're really talking about ones and zeros digital information. So

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<v Speaker 1>stag analysis is largely concerned with that because that's that's

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<v Speaker 1>the main way messages are sent these days, is through

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<v Speaker 1>a digital file of some sort that to an outside

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<v Speaker 1>view looks like a normal file. There's nothing that seems

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<v Speaker 1>remarkable about it. But if you were to analyze the

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<v Speaker 1>actual digital information of that file, you would start to

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<v Speaker 1>see patterns that would indicate something hanky is going. Yes,

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<v Speaker 1>and in steak analysis, there are two steps to deciphering

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<v Speaker 1>and the first is detecting it um, which if if

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<v Speaker 1>it is like a handwritten message or something like that,

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<v Speaker 1>and it's very fairly obvious, you can do it without

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<v Speaker 1>any special software. UM. But where it does happen so

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<v Speaker 1>much in the digital age. Um their disk analysis programs

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<v Speaker 1>that will just look at it for you. Yeah, you

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<v Speaker 1>actually run your suspected uh secret message. So it could

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<v Speaker 1>be very simple like a lot of and a lot

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<v Speaker 1>of examples I see are photographs that have been uploaded

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<v Speaker 1>to public forums and the idea being that well, when

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<v Speaker 1>it's in the public eye, no one's paying attention to

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<v Speaker 1>it because it's just something that we see all the time.

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<v Speaker 1>Like if you were to post a picture to Facebook, yeah,

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<v Speaker 1>a lot of a lot of people do. Then because

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<v Speaker 1>that's so common, it doesn't tend to raise suspicion. So

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<v Speaker 1>first of all, someone has to know that there's something

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<v Speaker 1>to look for, right, they have to first be suspicious

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<v Speaker 1>that there's some form of communication going on. Then they

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<v Speaker 1>have to start figuring out, all right, how is this

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<v Speaker 1>communication happening, And then they would have to start targeting

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<v Speaker 1>the various means of that, and one of those might

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<v Speaker 1>be photographs, and they'd say, all right, let's take this

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<v Speaker 1>image that was uploaded to whatever site, and let's run

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<v Speaker 1>it through one of these disk analysis programs and see

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<v Speaker 1>if that comes up with anything that perhaps there's some

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<v Speaker 1>indication that something's out of place, and it might be

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<v Speaker 1>something that you looking at would notice if you knew

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<v Speaker 1>what to look for. Yeah, that's called perceptible noise. So

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<v Speaker 1>sometimes if audio visual files are slightly off, there might

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<v Speaker 1>be perceptible noise in there. So that would just be

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<v Speaker 1>an indicator, right, something saying something's not right now. That

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<v Speaker 1>can happen naturally, like that could just be a problem

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<v Speaker 1>with the file and not not be an indication that

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<v Speaker 1>there's anything super secret going on, or it could be

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<v Speaker 1>an indication that, in fact, some of the bits in

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<v Speaker 1>that file have been altered in order to send a

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<v Speaker 1>secret message. And in in the best case of stegnography,

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<v Speaker 1>you wouldn't have weird noises or distorted pixels for people

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<v Speaker 1>to see. Yeah, it would just be so subtle that

0:13:00.160 --> 0:13:02.640
<v Speaker 1>you would never pick up on it. And uh and

0:13:02.679 --> 0:13:05.920
<v Speaker 1>that's the reason why you need these disc analysis programs,

0:13:06.240 --> 0:13:09.520
<v Speaker 1>so they can look for things that are below the

0:13:09.640 --> 0:13:14.920
<v Speaker 1>perceptive level of human beings. Uh. So again we often

0:13:14.960 --> 0:13:17.480
<v Speaker 1>see the two working together makes a lot of sense.

0:13:17.520 --> 0:13:21.679
<v Speaker 1>So let's talk a little bit about the history of steganography,

0:13:21.760 --> 0:13:28.120
<v Speaker 1>because there are some gloriously awful and bloody stories just

0:13:28.480 --> 0:13:31.040
<v Speaker 1>just reading about them. Yeah, So first, we gotta go

0:13:31.080 --> 0:13:33.320
<v Speaker 1>to ancient Greece, which makes sense. We're talking, you know,

0:13:33.360 --> 0:13:35.880
<v Speaker 1>we're using Greek words, so it makes sense that that

0:13:36.000 --> 0:13:39.560
<v Speaker 1>a lot of the early cases involved Greek stories, and

0:13:39.559 --> 0:13:45.280
<v Speaker 1>we're gonna be talking a lot about Herodotus. I can

0:13:45.320 --> 0:13:47.640
<v Speaker 1>only do it because I listened to the pronunciation and

0:13:47.679 --> 0:13:51.200
<v Speaker 1>I wrote down a phonetic translation in our notes. That

0:13:51.320 --> 0:13:55.640
<v Speaker 1>is not a joke. Herodotus was a Greek historian in

0:13:55.640 --> 0:13:59.840
<v Speaker 1>the fifth century b c. And wrote a lot about

0:14:00.480 --> 0:14:03.840
<v Speaker 1>Greek history and the history of the surrounding areas of Greece,

0:14:04.559 --> 0:14:07.840
<v Speaker 1>And in fact, his writings were called the Histories. Yeah,

0:14:08.160 --> 0:14:11.640
<v Speaker 1>and or at least we have to we have to

0:14:11.640 --> 0:14:13.480
<v Speaker 1>take some of this with a grain of salt, because

0:14:13.559 --> 0:14:15.760
<v Speaker 1>legend got mixed up with history quite a bit. So

0:14:16.720 --> 0:14:19.960
<v Speaker 1>in fact, there are some modern accountings that suggest that

0:14:20.640 --> 0:14:25.080
<v Speaker 1>some of the familial connections he makes in his stories

0:14:25.200 --> 0:14:29.760
<v Speaker 1>were not necessarily accurate. So um one of the big ones,

0:14:29.800 --> 0:14:31.480
<v Speaker 1>in fact, the first one I have to talk about,

0:14:32.000 --> 0:14:35.120
<v Speaker 1>is one of those where the story talks about a

0:14:35.160 --> 0:14:41.760
<v Speaker 1>general named Harpagus who sent a staganagram to Cyrus, was

0:14:41.800 --> 0:14:44.640
<v Speaker 1>a king who was going to become the king of

0:14:44.800 --> 0:14:49.120
<v Speaker 1>kings of Persia, Son of Persia, not the Prince of Persia.

0:14:49.160 --> 0:14:53.239
<v Speaker 1>Now that's a video game, which is fun, but not

0:14:53.240 --> 0:14:57.200
<v Speaker 1>not something we actually need to reference here. The story, Yeah,

0:14:57.200 --> 0:14:59.640
<v Speaker 1>the story is far bloodier in fact, which is odd

0:14:59.680 --> 0:15:01.400
<v Speaker 1>to think of, depending on which version of Prince of

0:15:01.400 --> 0:15:04.200
<v Speaker 1>Persia you played and how badly you played it. But

0:15:04.800 --> 0:15:07.440
<v Speaker 1>Cyrus was going to be the king of kings of Persia.

0:15:07.560 --> 0:15:10.920
<v Speaker 1>So Persia was divided up into several kingdoms, and then

0:15:10.960 --> 0:15:13.560
<v Speaker 1>you had a sort of an over king who saw

0:15:13.760 --> 0:15:17.000
<v Speaker 1>over everybody, kind of like King Arthur in in English

0:15:17.160 --> 0:15:24.520
<v Speaker 1>lore Um. So cyrus Um was the grandson, according to Herodotus,

0:15:25.520 --> 0:15:31.680
<v Speaker 1>to another king of kings, Ostiagas, and so Harpagus actually

0:15:31.760 --> 0:15:35.040
<v Speaker 1>worked for Ostiagas. So Ostiogus is this king of kings,

0:15:35.200 --> 0:15:38.480
<v Speaker 1>and he has a dream, and in his dream, his

0:15:38.640 --> 0:15:42.560
<v Speaker 1>daughter gives birth to a son, and that son grows

0:15:42.680 --> 0:15:47.120
<v Speaker 1>up to depose osti Agus. So first he ends up

0:15:47.120 --> 0:15:50.320
<v Speaker 1>marrying his daughter off to a kind of milk toast

0:15:50.440 --> 0:15:52.480
<v Speaker 1>kind of guy, someone that he thinks is, oh well,

0:15:52.480 --> 0:15:55.400
<v Speaker 1>this guy is harmless, so any child they have is

0:15:55.400 --> 0:15:58.200
<v Speaker 1>not going to be a threat to me Um. And

0:15:58.400 --> 0:16:01.680
<v Speaker 1>they have a son named IRUs. According to Herodotus. Again.

0:16:01.720 --> 0:16:05.480
<v Speaker 1>Other modern accounts suggests that Cyrus and Ostiagas were not

0:16:06.240 --> 0:16:08.800
<v Speaker 1>grandfather and grandson. Yeah, they might have been related, but

0:16:08.840 --> 0:16:12.480
<v Speaker 1>not like grandfather and grandson, particularly since Cyrus ended up

0:16:12.600 --> 0:16:17.120
<v Speaker 1>marrying um a daughter a Herodotus, which would have made

0:16:17.240 --> 0:16:19.760
<v Speaker 1>he would have married his own aunt, which was not

0:16:20.040 --> 0:16:24.400
<v Speaker 1>common in those times. So I mean possible, but not common.

0:16:24.800 --> 0:16:28.840
<v Speaker 1>So anyway, in the story, Cyrus is the grandson, and

0:16:29.120 --> 0:16:36.360
<v Speaker 1>Ostiagas decides Harpagus needs to go out and kill Cyrus. Okay. Harpagas, though,

0:16:36.520 --> 0:16:39.760
<v Speaker 1>does not really relish the thought of spilling royal blood.

0:16:39.880 --> 0:16:42.560
<v Speaker 1>So he takes Cyrus and he gives Cyrus to a

0:16:42.640 --> 0:16:46.560
<v Speaker 1>shepherd and says, look after this kid, uh and raise

0:16:46.640 --> 0:16:49.000
<v Speaker 1>him as your own, and I will report back that

0:16:49.160 --> 0:16:52.480
<v Speaker 1>Cyrus is dead. Seems like a really decent guy, at

0:16:52.560 --> 0:16:56.160
<v Speaker 1>least at that point, so he goes back. He reports

0:16:56.200 --> 0:17:00.560
<v Speaker 1>that Cyrus has died, and Ostiagus says YEA. Ten years later,

0:17:00.840 --> 0:17:05.320
<v Speaker 1>Ostiagus finds out Cyrus is actually alive, so he punishes

0:17:05.320 --> 0:17:09.440
<v Speaker 1>Harpagus in kind of a Shakespearean awful way, and that

0:17:09.520 --> 0:17:14.680
<v Speaker 1>in the story osti Agus gets Harpagus, his son kills

0:17:14.720 --> 0:17:19.480
<v Speaker 1>him chops him up, cooks him, serves them to Harpagas

0:17:19.640 --> 0:17:23.439
<v Speaker 1>as a banquet Harpegas and then tells Harpegus, hey, by

0:17:23.480 --> 0:17:25.600
<v Speaker 1>the way, I hope you like your son, because that's

0:17:25.640 --> 0:17:30.760
<v Speaker 1>what you're eating. Harpegus supposedly then gathered up the remains

0:17:30.840 --> 0:17:34.800
<v Speaker 1>and gave his son a burial. He was being obedient

0:17:34.840 --> 0:17:38.639
<v Speaker 1>to the king outwardly, but inwardly had decided that he

0:17:38.680 --> 0:17:41.600
<v Speaker 1>had had enough and he wanted revenge, so he wanted

0:17:41.600 --> 0:17:45.000
<v Speaker 1>to report to Cyrus. He He ended up working very

0:17:45.080 --> 0:17:48.879
<v Speaker 1>hard to get other leaders of Persia to turn against

0:17:48.920 --> 0:17:51.840
<v Speaker 1>Ostiagus and wait for just the right time to give

0:17:51.920 --> 0:17:54.440
<v Speaker 1>Cyrus the signal that now is the time to attack.

0:17:54.880 --> 0:17:57.119
<v Speaker 1>So he needed to send a message to Cyrus saying

0:17:57.600 --> 0:18:02.080
<v Speaker 1>we're ready to go when you are. But asti August

0:18:02.160 --> 0:18:04.800
<v Speaker 1>had guards all along the way. So how does he

0:18:04.840 --> 0:18:12.679
<v Speaker 1>send a message. He gets a bunny bunny hair. Actually, no,

0:18:12.760 --> 0:18:15.040
<v Speaker 1>they're not nearly as cute as bunny rabbits, and this

0:18:15.119 --> 0:18:18.760
<v Speaker 1>hair was not nearly as cute because it was did Yeah,

0:18:18.800 --> 0:18:23.640
<v Speaker 1>they they have a guy kill a hair. They cut

0:18:23.720 --> 0:18:27.639
<v Speaker 1>the hair open, they insert the secret message into the

0:18:27.720 --> 0:18:32.000
<v Speaker 1>hair's stomach, so the hair back up and a messenger

0:18:32.080 --> 0:18:36.040
<v Speaker 1>disguised as a huntsman brings the hair to Cyrus and says,

0:18:36.920 --> 0:18:40.280
<v Speaker 1>you should cut open this bunny rabbit and get what

0:18:40.359 --> 0:18:44.080
<v Speaker 1>the delicious things inside are. And so Cyrus cuts open

0:18:44.119 --> 0:18:47.680
<v Speaker 1>the stitches, gets the message, sees that it's time to attack,

0:18:48.160 --> 0:18:52.679
<v Speaker 1>and that is how, according to Herodotus, Cyrus goes and

0:18:52.760 --> 0:18:56.680
<v Speaker 1>joins a revolution and overthrows Ostia Augus and then Cyrus

0:18:56.720 --> 0:19:00.359
<v Speaker 1>becomes the king. So there's a long way to go

0:19:00.480 --> 0:19:02.520
<v Speaker 1>for that story, but it's important to know all the

0:19:02.600 --> 0:19:06.359
<v Speaker 1>elements to explain why Harpagus was trying to send a

0:19:06.359 --> 0:19:08.840
<v Speaker 1>coded message in the first place, or hidden message. I'm

0:19:08.920 --> 0:19:11.160
<v Speaker 1>so glad we have better ways to send hidden messages

0:19:11.200 --> 0:19:14.720
<v Speaker 1>than in the stomachs of rabbits. Now, okay, this is

0:19:14.800 --> 0:19:17.159
<v Speaker 1>Jonathan from the future. I've got a hidden message in

0:19:17.240 --> 0:19:20.119
<v Speaker 1>this image file that says we need to take a

0:19:20.200 --> 0:19:30.960
<v Speaker 1>quick break, but we'll be right back. So um, here's

0:19:31.160 --> 0:19:35.720
<v Speaker 1>another one. This is another popular story from Herodotus. This

0:19:35.760 --> 0:19:42.080
<v Speaker 1>one involves a tyrant named Histius, which sounds like you're

0:19:42.080 --> 0:19:46.679
<v Speaker 1>strangling a snake. Yeah. Histius who was the ruler of

0:19:47.359 --> 0:19:51.760
<v Speaker 1>mild Us, and this guy was really useful to the

0:19:51.840 --> 0:19:55.760
<v Speaker 1>king of Persia. The King of Persia loved Histius and

0:19:56.000 --> 0:19:59.640
<v Speaker 1>decided to invite him back to become a royal advisor. Well,

0:19:59.640 --> 0:20:01.760
<v Speaker 1>that sounds it is pretty good to me. Well at first,

0:20:01.800 --> 0:20:04.919
<v Speaker 1>Histories thoughts so too. But then eventually he thought, you know,

0:20:04.960 --> 0:20:08.000
<v Speaker 1>I want to go back to being a tyrant of Maltest. Tyrant,

0:20:08.000 --> 0:20:11.080
<v Speaker 1>by the way, does not necessarily mean evil ruler, but

0:20:11.119 --> 0:20:16.800
<v Speaker 1>it did mean like having total authority over a region. Um,

0:20:16.920 --> 0:20:18.760
<v Speaker 1>so he said, he thought, I want to go back

0:20:18.760 --> 0:20:20.880
<v Speaker 1>to doing what I was doing before. But it would

0:20:20.880 --> 0:20:24.720
<v Speaker 1>be treason for me to deny the king? So how

0:20:24.720 --> 0:20:27.560
<v Speaker 1>do I get around this? And he comes up with

0:20:27.600 --> 0:20:29.679
<v Speaker 1>an even more treason this way to get around it.

0:20:30.400 --> 0:20:33.359
<v Speaker 1>He decides that the best way to get back to

0:20:33.480 --> 0:20:36.879
<v Speaker 1>doing what he was doing before would be to stage

0:20:36.920 --> 0:20:42.040
<v Speaker 1>a revolution back home. Uh, and then tell the king, Hey,

0:20:42.160 --> 0:20:45.000
<v Speaker 1>I need to go back there and squash this revolution

0:20:45.119 --> 0:20:47.360
<v Speaker 1>before it gets out of hand, because telling the king

0:20:47.400 --> 0:20:51.639
<v Speaker 1>no is so much less worse than lying to the

0:20:51.760 --> 0:20:54.960
<v Speaker 1>king and tell him. So, he decides he needs to

0:20:55.000 --> 0:20:58.680
<v Speaker 1>send this instruction to his nephew, who was in charge

0:20:58.680 --> 0:21:03.040
<v Speaker 1>of maldis Agris. And so how does he send the message, Well,

0:21:03.040 --> 0:21:06.240
<v Speaker 1>he gets a slave which the Greeks had back then,

0:21:06.800 --> 0:21:10.960
<v Speaker 1>and tattoos. He shaves the slave's head, tattoos the message

0:21:11.080 --> 0:21:14.359
<v Speaker 1>on the slave's scalp, then allows the slaves hair to

0:21:14.440 --> 0:21:18.440
<v Speaker 1>grow back, then sends the slave to Aristagoras with the

0:21:18.480 --> 0:21:20.840
<v Speaker 1>instruction to tell Aristagoras, Hey, you need to shave me

0:21:20.880 --> 0:21:24.760
<v Speaker 1>and read my head. So that's exactly what happens. Aristagoras

0:21:24.800 --> 0:21:29.520
<v Speaker 1>reads the message, starts a revolution against the Persians. Then

0:21:30.080 --> 0:21:34.119
<v Speaker 1>Histius tells the king, Hey, this is gonna be a problem,

0:21:34.160 --> 0:21:36.359
<v Speaker 1>so just send me back and I will go and

0:21:36.440 --> 0:21:40.000
<v Speaker 1>squish this right away, and we'll solve this before it

0:21:40.040 --> 0:21:41.960
<v Speaker 1>turns into a big problem. And of course they can

0:21:42.040 --> 0:21:46.520
<v Speaker 1>go a loyal advisor. Sure. Yeah, So Histius heads on

0:21:46.560 --> 0:21:50.200
<v Speaker 1>his way back. However, there were some folks who were

0:21:50.240 --> 0:21:56.199
<v Speaker 1>a little suspicious of Histius and his convenient revolution, and

0:21:56.280 --> 0:21:59.399
<v Speaker 1>so eventually Histaius goes on the run because people are

0:21:59.400 --> 0:22:01.520
<v Speaker 1>actually after or him thinking that you know, he's he's

0:22:01.560 --> 0:22:07.560
<v Speaker 1>committed treason. Yeah, he has done that thing, and so

0:22:08.040 --> 0:22:11.800
<v Speaker 1>he ends up getting exiled and eventually to an island.

0:22:11.920 --> 0:22:15.240
<v Speaker 1>He becomes a pirate for a while, and then he's

0:22:15.280 --> 0:22:18.840
<v Speaker 1>eventually captured by one of the king of Persia's subjects.

0:22:18.960 --> 0:22:21.399
<v Speaker 1>Who knows that if he sends his tis back to

0:22:21.440 --> 0:22:23.840
<v Speaker 1>the king, the king will pardon him, So he just

0:22:23.880 --> 0:22:26.240
<v Speaker 1>goes ahead and execute his t is right then and there,

0:22:26.320 --> 0:22:30.200
<v Speaker 1>since the head of his is to the king saying, hey,

0:22:30.240 --> 0:22:32.600
<v Speaker 1>I caught him and killed him for you. And the

0:22:32.680 --> 0:22:36.800
<v Speaker 1>king actually supposedly gave the head of his tis an

0:22:36.800 --> 0:22:40.199
<v Speaker 1>honorable burial because he never suspected anything was up. He

0:22:40.240 --> 0:22:44.280
<v Speaker 1>didn't believe his is could have committed any kind of

0:22:44.320 --> 0:22:52.959
<v Speaker 1>treason against him. So uh, dumb or nice? Not a

0:22:52.960 --> 0:22:56.119
<v Speaker 1>lot of nice stories in ancient Greece. Uh, And then

0:22:56.160 --> 0:22:59.560
<v Speaker 1>you've got another one, another herodotist story, another herodotus story.

0:22:59.600 --> 0:23:01.280
<v Speaker 1>I was out to mention it, and then I realized

0:23:01.280 --> 0:23:03.760
<v Speaker 1>that I couldn't actually say his name. There was an

0:23:03.760 --> 0:23:09.240
<v Speaker 1>exiled Greek named named Demeritus, and uh. He needed to

0:23:09.240 --> 0:23:12.879
<v Speaker 1>warn the king of Sparta, Leonidas that kings er Ses

0:23:12.880 --> 0:23:15.480
<v Speaker 1>the first was going to attack them. So he took

0:23:16.320 --> 0:23:19.760
<v Speaker 1>writing tablets, which were wood tablets covered in wax and

0:23:19.760 --> 0:23:22.600
<v Speaker 1>you would scratch a message into the wax, and instead

0:23:22.640 --> 0:23:25.400
<v Speaker 1>he took off all the wax and scratched message into

0:23:25.400 --> 0:23:28.479
<v Speaker 1>the wood, and then recovered the tablets and wax so

0:23:28.520 --> 0:23:30.320
<v Speaker 1>that they looked like they were blanked tablets, and he

0:23:30.359 --> 0:23:33.639
<v Speaker 1>sent those to the king to warn him. Uh. But

0:23:35.080 --> 0:23:38.760
<v Speaker 1>proposedly no one knew why they were getting these blank tablets.

0:23:38.800 --> 0:23:42.240
<v Speaker 1>They didn't necessarily know there was a message. Why are

0:23:42.240 --> 0:23:45.639
<v Speaker 1>we getting just we got plenty of tablets and no

0:23:45.680 --> 0:23:48.840
<v Speaker 1>one writes anything of use here in Sparta anyway. Yeah,

0:23:49.000 --> 0:23:52.480
<v Speaker 1>supposedly the queen, Queen Gorgo figured out what it was, said,

0:23:52.520 --> 0:23:53.720
<v Speaker 1>you got you need to take the wax off. I

0:23:53.760 --> 0:23:56.280
<v Speaker 1>but there's a message under there and there were um

0:23:56.320 --> 0:23:59.600
<v Speaker 1>but it didn't help them because the Spartans were brutally

0:23:59.640 --> 0:24:02.880
<v Speaker 1>defeat it. Uh. And if the story sounds familiar to you,

0:24:03.040 --> 0:24:06.879
<v Speaker 1>it's because it is the story three the comic movie.

0:24:07.160 --> 0:24:11.159
<v Speaker 1>Yeah story, that's essentially that's the tale the three hundred

0:24:11.200 --> 0:24:14.639
<v Speaker 1>Spartans who who tried to hold a pass and managed

0:24:14.680 --> 0:24:19.439
<v Speaker 1>to delay xer c S so that the invasion of

0:24:19.480 --> 0:24:24.440
<v Speaker 1>Greece ultimately would fail. But the Spartans were completely wiped out,

0:24:24.720 --> 0:24:27.120
<v Speaker 1>or at least the the three hundred were completely wiped

0:24:27.119 --> 0:24:31.440
<v Speaker 1>out as a result. Moving forward to Roman times, Tacitus

0:24:31.800 --> 0:24:35.480
<v Speaker 1>invented a way to use a predecessor of dice to

0:24:35.600 --> 0:24:41.080
<v Speaker 1>hide messages. So these these dice like things which I

0:24:41.119 --> 0:24:43.520
<v Speaker 1>can't remember the name now. It's like an estralla alley

0:24:43.640 --> 0:24:45.919
<v Speaker 1>or something like that. But I know I've totally mangled that,

0:24:46.000 --> 0:24:50.159
<v Speaker 1>so I apologize. But they had little holes drilled in them,

0:24:50.240 --> 0:24:54.760
<v Speaker 1>and you could string them together, and in this case, uh,

0:24:54.920 --> 0:24:57.879
<v Speaker 1>Tacitus was using them to string them together in specific

0:24:58.080 --> 0:25:01.960
<v Speaker 1>orders to relay different type some messages. But if anyone

0:25:02.000 --> 0:25:03.600
<v Speaker 1>were stopped with them, they just looked like it was

0:25:03.640 --> 0:25:06.560
<v Speaker 1>a toy. It didn't look like it was anything of significance,

0:25:06.800 --> 0:25:09.040
<v Speaker 1>although they might play with it and mess up the message.

0:25:09.160 --> 0:25:11.320
<v Speaker 1>That Yeah, if you were to break the thread so

0:25:11.359 --> 0:25:13.680
<v Speaker 1>that they were no longer threaded together in the proper way,

0:25:13.720 --> 0:25:17.080
<v Speaker 1>then the message would be lost. Uh. This, by the way,

0:25:17.080 --> 0:25:20.360
<v Speaker 1>it would end up having a specific name a semigram,

0:25:20.400 --> 0:25:25.080
<v Speaker 1>because it is being used as a non text based message.

0:25:25.520 --> 0:25:28.399
<v Speaker 1>So you don't you don't translate it into texts so

0:25:28.480 --> 0:25:31.119
<v Speaker 1>much as you say, this series of symbols means this

0:25:31.240 --> 0:25:35.640
<v Speaker 1>particular thing. Uh. You also have a guy named Johannes

0:25:36.080 --> 0:25:40.320
<v Speaker 1>Trithmius in the Middle Ages, in the sixteenth century actually,

0:25:40.480 --> 0:25:46.200
<v Speaker 1>who wrote a book titled Steganograph Stega Nagraphia yes, which

0:25:46.520 --> 0:25:50.560
<v Speaker 1>was a stagram in and of itself, this I did

0:25:50.560 --> 0:25:53.960
<v Speaker 1>not know, which is pretty cool. Yeah. It outwardly it

0:25:54.000 --> 0:25:57.600
<v Speaker 1>seemed to be a series of writings on magic, but

0:25:57.960 --> 0:26:01.800
<v Speaker 1>in secret it contained a message on the treatise of Steganography.

0:26:02.359 --> 0:26:05.120
<v Speaker 1>That's now that's really cool that you're like, Okay, you've

0:26:05.119 --> 0:26:07.320
<v Speaker 1>gotta be smart enough to know that this is a

0:26:07.359 --> 0:26:10.919
<v Speaker 1>book about secret messages, because it itself is a secret message.

0:26:11.400 --> 0:26:14.160
<v Speaker 1>Uh yeah, really interesting, and then we can skip ahead.

0:26:14.200 --> 0:26:18.359
<v Speaker 1>I mean, obviously these have been used repeatedly in multiple ways.

0:26:18.600 --> 0:26:20.919
<v Speaker 1>There's another great example that during World War One, the

0:26:20.960 --> 0:26:23.960
<v Speaker 1>German embassy in the United States sent a message to

0:26:24.040 --> 0:26:28.840
<v Speaker 1>Berlin that used what's called a null cipher. Null ciphers

0:26:28.880 --> 0:26:32.320
<v Speaker 1>are not very secure at all because once you know

0:26:32.480 --> 0:26:34.960
<v Speaker 1>that there's a possibility, it's very easy to find them.

0:26:34.960 --> 0:26:37.719
<v Speaker 1>But basically it's when you take the first letter of

0:26:37.760 --> 0:26:40.719
<v Speaker 1>each word in a message and that spells out a

0:26:40.760 --> 0:26:44.480
<v Speaker 1>new message. So here's an example that's often cited. I

0:26:44.520 --> 0:26:48.280
<v Speaker 1>don't know that this was ever actually sent as a message,

0:26:48.280 --> 0:26:51.440
<v Speaker 1>but it's always used as an example. Here's the the

0:26:51.520 --> 0:26:54.800
<v Speaker 1>full message, which was or the carrier message, if you will.

0:26:54.840 --> 0:26:59.800
<v Speaker 1>It was President's embargo ruling should have immediate notice. Graves

0:27:00.000 --> 0:27:05.760
<v Speaker 1>situation affecting international law, statement for shadows ruin of many neutrals,

0:27:06.160 --> 0:27:10.600
<v Speaker 1>yellow journals, unifying national excitement immensely. See, they really had

0:27:10.640 --> 0:27:13.560
<v Speaker 1>me until the yellow journals. Like I was following that message,

0:27:13.640 --> 0:27:15.439
<v Speaker 1>I knew what they were trying to send. Well, they

0:27:15.480 --> 0:27:18.119
<v Speaker 1>could have been talking about yellow journalism, but that's a

0:27:18.200 --> 0:27:20.440
<v Speaker 1>different thing anyway, and you wouldn't know why a German

0:27:20.440 --> 0:27:22.320
<v Speaker 1>embassy would write about it. But at any rate, the

0:27:22.359 --> 0:27:26.280
<v Speaker 1>secret message, if you take those first letters, says Pershing

0:27:26.640 --> 0:27:32.520
<v Speaker 1>sales from n y New York, June first or June I,

0:27:33.200 --> 0:27:35.639
<v Speaker 1>upper case I. So Pershing was the U. S General

0:27:35.640 --> 0:27:39.200
<v Speaker 1>who led American the American expeditionary forces in World War One.

0:27:39.480 --> 0:27:41.720
<v Speaker 1>So this would be a message from German, the German

0:27:41.760 --> 0:27:45.760
<v Speaker 1>embassy to Germany saying, Hey, this American general is sailing

0:27:45.760 --> 0:27:48.639
<v Speaker 1>out of New York on this date. Expect him to

0:27:48.680 --> 0:27:51.800
<v Speaker 1>be in the in the European theater within several weeks.

0:27:51.960 --> 0:27:54.800
<v Speaker 1>That kind of thing. Uh. And now we'll talk about

0:27:54.840 --> 0:27:57.760
<v Speaker 1>some of the types of steganography, because there's a whole

0:27:57.760 --> 0:28:01.200
<v Speaker 1>bunch of because really, any way that you can hide

0:28:01.240 --> 0:28:05.400
<v Speaker 1>a message inside something is technically steganography. So these are

0:28:05.480 --> 0:28:08.200
<v Speaker 1>just some examples. Really, it's not an exhaustive list because

0:28:08.359 --> 0:28:11.920
<v Speaker 1>that would be impossible. For instance, uh, there's the old

0:28:11.920 --> 0:28:15.159
<v Speaker 1>Greek ways we talked about um in in history of

0:28:15.240 --> 0:28:19.479
<v Speaker 1>hiding something inside or under something. Great example is in

0:28:19.720 --> 0:28:23.119
<v Speaker 1>the Second World War, the British Secret Service hid escape

0:28:23.200 --> 0:28:25.800
<v Speaker 1>kit pieces in monopoly games and sent them to the

0:28:25.840 --> 0:28:29.720
<v Speaker 1>prisoners of war in Germany along with Red Cross supplies. Yeah,

0:28:29.760 --> 0:28:33.560
<v Speaker 1>so you could you get these deliveries if you're a

0:28:33.600 --> 0:28:35.360
<v Speaker 1>prisoner of war, and you know, the Germans would say,

0:28:35.359 --> 0:28:38.280
<v Speaker 1>all right, well this is just humanitarian aid or whatever,

0:28:38.640 --> 0:28:40.920
<v Speaker 1>and as long as it keeps the prisoners mollified, then

0:28:40.960 --> 0:28:43.680
<v Speaker 1>we'll go ahead and give them to them, not realizing

0:28:43.680 --> 0:28:46.200
<v Speaker 1>that they were supplying the prisoners with the very tools

0:28:46.240 --> 0:28:48.440
<v Speaker 1>the prisoners might be able to use to break free,

0:28:48.840 --> 0:28:51.920
<v Speaker 1>which is pretty interesting. And by when the prisoners break free,

0:28:52.200 --> 0:28:57.040
<v Speaker 1>did they have egg on their face? So the semigrams

0:28:57.040 --> 0:28:59.840
<v Speaker 1>I talked about earlier, the dice that are threatened together,

0:29:00.000 --> 0:29:02.400
<v Speaker 1>that's just one example that could be in lots of

0:29:02.440 --> 0:29:07.120
<v Speaker 1>different versions, like iconography or signs or photographs, or even

0:29:07.480 --> 0:29:09.800
<v Speaker 1>like the placement of items on a desk. So let's

0:29:09.840 --> 0:29:12.520
<v Speaker 1>say I've got I could have a webcam set up

0:29:12.800 --> 0:29:16.360
<v Speaker 1>on my desk, for example, so that people who log

0:29:16.440 --> 0:29:19.400
<v Speaker 1>into the web could see me, you know, theoretically just

0:29:19.560 --> 0:29:22.600
<v Speaker 1>working at work like that's all I'm doing. But maybe

0:29:22.960 --> 0:29:26.160
<v Speaker 1>depending upon where my coffee cup is, or depending upon

0:29:26.200 --> 0:29:29.120
<v Speaker 1>where a certain stack of papers happened to be, that

0:29:29.240 --> 0:29:33.040
<v Speaker 1>might be an actual message itself. So Ariel looking at

0:29:33.080 --> 0:29:36.720
<v Speaker 1>the webcam might say, oh, well, Jonathan's gonna go to

0:29:37.360 --> 0:29:41.200
<v Speaker 1>Manual's Tavern today because I see where the combination of

0:29:41.200 --> 0:29:43.280
<v Speaker 1>stuff is. I don't know why I would secretly be

0:29:43.360 --> 0:29:46.560
<v Speaker 1>telling you that, because all of your fans trying to

0:29:46.560 --> 0:29:50.240
<v Speaker 1>follow you. Yeah, that's it. I'm surrounded by the thronging fans.

0:29:50.240 --> 0:29:53.680
<v Speaker 1>Who And Manual's Tavern is such a low profile place, right.

0:29:54.320 --> 0:29:56.600
<v Speaker 1>Uh that's by the way, if you're not from Atlanta

0:29:56.880 --> 0:29:59.360
<v Speaker 1>or never been here, Manual's Tavern is a very popular

0:29:59.600 --> 0:30:05.239
<v Speaker 1>spot for artists and and playwrights and political fans and

0:30:05.560 --> 0:30:09.720
<v Speaker 1>sports figures. Political figures. Yeah, President Obama came here recently,

0:30:10.160 --> 0:30:12.840
<v Speaker 1>and it's just kind of it's kind of like a

0:30:13.160 --> 0:30:16.160
<v Speaker 1>like I think of it like cheers. Yeah, it's really

0:30:16.160 --> 0:30:18.920
<v Speaker 1>like cheers with chickens. On the roof. Yeah, yeah, there

0:30:18.920 --> 0:30:21.280
<v Speaker 1>are chickens on the roof. That that's not it's not

0:30:21.320 --> 0:30:25.160
<v Speaker 1>a joke. They use their eggs for breakfast, they do.

0:30:26.080 --> 0:30:30.000
<v Speaker 1>Another example would be the car done grill. It sounds

0:30:30.000 --> 0:30:31.959
<v Speaker 1>like a good restaurant. It does, doesn't it. It's a

0:30:32.000 --> 0:30:35.120
<v Speaker 1>classic example. I was first proposed in the fifteenth century.

0:30:35.160 --> 0:30:37.520
<v Speaker 1>So here's how it works. You've probably seen this. So

0:30:37.600 --> 0:30:40.720
<v Speaker 1>you take a sheet of clean paper or in the

0:30:40.760 --> 0:30:43.440
<v Speaker 1>case of the Middle Ages, parchment, and you set that down.

0:30:43.720 --> 0:30:46.160
<v Speaker 1>You take a second sheet and you cut little holes

0:30:46.360 --> 0:30:49.720
<v Speaker 1>in that sheet and strategic places. You lay the second

0:30:49.800 --> 0:30:52.520
<v Speaker 1>sheet on top of the first sheet, and then you

0:30:52.600 --> 0:30:55.560
<v Speaker 1>write in your secret message in those holes, using the

0:30:55.600 --> 0:30:58.480
<v Speaker 1>holes as kind of like almost like a stencil. And

0:30:58.560 --> 0:31:01.280
<v Speaker 1>so it's only bits and pieces. Sometimes sometimes it might

0:31:01.280 --> 0:31:03.440
<v Speaker 1>be a word. Sometimes it might just be a single letter.

0:31:03.800 --> 0:31:06.959
<v Speaker 1>But you do that throughout, using the holes as your

0:31:07.000 --> 0:31:09.880
<v Speaker 1>guide to write the secret message. Then you take your

0:31:09.960 --> 0:31:13.960
<v Speaker 1>stencil off and you write in the You fill in

0:31:14.000 --> 0:31:16.080
<v Speaker 1>the rest of the space with a boring message. That

0:31:16.360 --> 0:31:19.880
<v Speaker 1>means you know very little in the grand scheme of things.

0:31:19.920 --> 0:31:25.160
<v Speaker 1>So only someone who would have a part a comparable stencil,

0:31:25.400 --> 0:31:27.520
<v Speaker 1>so something that they have a sheet of paper that

0:31:27.560 --> 0:31:30.040
<v Speaker 1>has the same general holes cut out of it. They

0:31:30.080 --> 0:31:32.719
<v Speaker 1>could lay that on top of the full message and

0:31:32.760 --> 0:31:36.440
<v Speaker 1>read the secret message that's underneath. I actually tried to

0:31:36.520 --> 0:31:39.560
<v Speaker 1>make a card and grill a while back back when

0:31:39.600 --> 0:31:41.720
<v Speaker 1>I was in school and do a secret message like that.

0:31:41.800 --> 0:31:44.360
<v Speaker 1>It is harder than I imagined it would be because

0:31:44.440 --> 0:31:46.720
<v Speaker 1>once you put your secret message in, you then have

0:31:46.760 --> 0:31:49.240
<v Speaker 1>to make sure the rest of your message lines up right.

0:31:49.520 --> 0:31:51.840
<v Speaker 1>You have to make it make enough sense, like how

0:31:51.880 --> 0:31:54.680
<v Speaker 1>do you plan out the rest of your message so

0:31:54.760 --> 0:31:57.880
<v Speaker 1>that you can do this unless you are to create

0:31:58.000 --> 0:32:01.840
<v Speaker 1>a message from the very beginning, and then you create

0:32:02.000 --> 0:32:05.480
<v Speaker 1>a grill that fits on top of your existing message

0:32:05.520 --> 0:32:08.160
<v Speaker 1>that shows what which words are the most important, and

0:32:08.200 --> 0:32:10.560
<v Speaker 1>then you send it. But then you've got to figure out, well,

0:32:10.600 --> 0:32:12.600
<v Speaker 1>how do I get how do I get the grill?

0:32:13.360 --> 0:32:16.920
<v Speaker 1>How do I get the the stencil to the person

0:32:17.000 --> 0:32:18.680
<v Speaker 1>I need to send it to? Because if I send both,

0:32:18.720 --> 0:32:22.080
<v Speaker 1>then clearly the jig is up, you know, So it

0:32:22.160 --> 0:32:25.680
<v Speaker 1>is a little tricky. I love this next one You've got. Yeah,

0:32:25.720 --> 0:32:28.640
<v Speaker 1>this next one. I had to double check it because

0:32:28.680 --> 0:32:31.760
<v Speaker 1>I didn't think it was possibly real. But people would

0:32:31.840 --> 0:32:35.520
<v Speaker 1>knit Morris code into garments and then send those garments

0:32:35.520 --> 0:32:38.920
<v Speaker 1>on the couriers for people to decipher. And you think

0:32:38.920 --> 0:32:41.640
<v Speaker 1>it was just like a knit line of Yeah, just

0:32:41.680 --> 0:32:44.760
<v Speaker 1>a pattern, just a pattern, yea on clothing. I think

0:32:44.760 --> 0:32:46.400
<v Speaker 1>that's super cool. I want to start doing that when

0:32:46.440 --> 0:32:48.400
<v Speaker 1>I have kids, I'm gonna knit Morse code into all

0:32:48.400 --> 0:32:50.800
<v Speaker 1>their clothes. They'll be fantastic things like things like do

0:32:50.880 --> 0:32:57.120
<v Speaker 1>your chores if this child is found. Well, that's a

0:32:58.400 --> 0:33:01.280
<v Speaker 1>I like that you expect eyes to come across your

0:33:01.360 --> 0:33:03.600
<v Speaker 1>children because I can't think of anyone else who typically

0:33:03.720 --> 0:33:07.360
<v Speaker 1>uses Morse code on a frequent basis. Uh. I like

0:33:07.440 --> 0:33:09.640
<v Speaker 1>the next one too, which is also pretty cool, the

0:33:09.680 --> 0:33:13.000
<v Speaker 1>idea that just through through formatting a document, you can

0:33:13.040 --> 0:33:16.719
<v Speaker 1>create a secret message. Yeah, you can add an extra space,

0:33:16.840 --> 0:33:19.920
<v Speaker 1>which most people don't notice. I do a lot of

0:33:20.040 --> 0:33:23.120
<v Speaker 1>editing at my job, and so I often see extra

0:33:23.160 --> 0:33:26.600
<v Speaker 1>spaces at before after a period, or before a certain word,

0:33:26.840 --> 0:33:29.320
<v Speaker 1>like before a hyphen or after a hyphen. But you

0:33:29.320 --> 0:33:32.600
<v Speaker 1>can add those extra spaces before the important words in

0:33:32.680 --> 0:33:34.680
<v Speaker 1>any word that you find that has an extra space before.

0:33:34.960 --> 0:33:38.000
<v Speaker 1>That's part of your cipher. Nice. I've also seen where

0:33:38.040 --> 0:33:41.680
<v Speaker 1>you could do things like subtly change the font, yes,

0:33:41.840 --> 0:33:44.720
<v Speaker 1>like really subtle, like courier to courier new which is

0:33:45.480 --> 0:33:48.400
<v Speaker 1>and a casual glance it looks the same, but if

0:33:48.400 --> 0:33:51.880
<v Speaker 1>you're paying attention, you can tell the difference, and thus

0:33:52.000 --> 0:33:55.240
<v Speaker 1>you put the important words in the different font. And

0:33:55.280 --> 0:33:57.560
<v Speaker 1>as long as the messages, like as long as your

0:33:57.600 --> 0:34:00.680
<v Speaker 1>carrier message is long enough and your secret message is

0:34:00.760 --> 0:34:03.760
<v Speaker 1>short enough, people are probably not going to pick up

0:34:03.760 --> 0:34:07.000
<v Speaker 1>on it. You can also vaguely change the skew as well.

0:34:07.160 --> 0:34:09.399
<v Speaker 1>That that one's a little bit more noticeable, right, right,

0:34:09.719 --> 0:34:12.239
<v Speaker 1>So it's you know, some of these again can get

0:34:12.400 --> 0:34:15.080
<v Speaker 1>pretty risky if your secret message is pretty long. This

0:34:15.160 --> 0:34:19.160
<v Speaker 1>is true in general, right, The longer your carrier message,

0:34:19.400 --> 0:34:22.600
<v Speaker 1>the more secure the secret is going to be, assuming

0:34:22.600 --> 0:34:25.920
<v Speaker 1>that the secret is not itself very long. If I have, like,

0:34:25.960 --> 0:34:28.399
<v Speaker 1>if I'm trying to hide a secret message in a tweet,

0:34:28.520 --> 0:34:30.359
<v Speaker 1>that's gonna be hard because they only have a hundred

0:34:30.440 --> 0:34:33.040
<v Speaker 1>forty characters to start with. Yeah, and then if I'm

0:34:33.040 --> 0:34:35.839
<v Speaker 1>trying to hide a message in that, then it has

0:34:35.880 --> 0:34:38.440
<v Speaker 1>to be a pretty small message. Otherwise it's just gonna

0:34:38.520 --> 0:34:41.000
<v Speaker 1>look like a tweet. It would probably have to be

0:34:41.480 --> 0:34:48.200
<v Speaker 1>a cryptogram, yeah, where individual letters mean full things. Or right,

0:34:48.360 --> 0:34:51.600
<v Speaker 1>or or like just a regular code where someone has

0:34:51.600 --> 0:34:54.680
<v Speaker 1>a codebook and they know that when I use this

0:34:54.760 --> 0:34:58.400
<v Speaker 1>word that that means something else. Yeah, in that case,

0:34:58.480 --> 0:35:00.040
<v Speaker 1>that would that would be more of a code and

0:35:00.120 --> 0:35:04.120
<v Speaker 1>ah than than a secret message in this sense. But

0:35:04.480 --> 0:35:06.719
<v Speaker 1>there are the ones too. There's also an invisible ink,

0:35:07.000 --> 0:35:09.799
<v Speaker 1>which is a thing. People have actually used it for

0:35:09.880 --> 0:35:14.320
<v Speaker 1>reals and also it's usually called sympathetic inc in the biz.

0:35:14.360 --> 0:35:17.160
<v Speaker 1>Because you would have a regular message written out in

0:35:17.239 --> 0:35:20.319
<v Speaker 1>normal inc that would have, you know, very boring, you know,

0:35:20.400 --> 0:35:23.280
<v Speaker 1>no reason to raise suspicion. You would write the actual

0:35:23.360 --> 0:35:25.920
<v Speaker 1>secret message and invisible ink kind of between the lines,

0:35:26.520 --> 0:35:28.279
<v Speaker 1>and then the person who receives it would have to

0:35:28.320 --> 0:35:30.560
<v Speaker 1>treat it. However they need to treat it, usually like

0:35:30.719 --> 0:35:33.400
<v Speaker 1>adding a little heat or maybe adding a certain chemical

0:35:33.760 --> 0:35:36.200
<v Speaker 1>to bring out the invisible ink so that you can

0:35:36.400 --> 0:35:39.040
<v Speaker 1>make it legible, and then you would be able to

0:35:39.040 --> 0:35:42.839
<v Speaker 1>read the secret stuff. And another way to hide messages

0:35:43.000 --> 0:35:47.359
<v Speaker 1>would be through photography. Yeah, like the Pueblo incident, which

0:35:47.400 --> 0:35:49.440
<v Speaker 1>as far as stagonography goes, is kind of like a

0:35:49.480 --> 0:35:54.520
<v Speaker 1>semigram where uh crew of the USS Pueblo was captured

0:35:54.560 --> 0:35:58.080
<v Speaker 1>by North Korea right before the Vietnam War. They were

0:35:58.600 --> 0:36:01.759
<v Speaker 1>an electronic intelligent ship and they were forced to take

0:36:01.840 --> 0:36:05.000
<v Speaker 1>propaganda photos, and in those propaganda photos, they all rested

0:36:05.000 --> 0:36:06.719
<v Speaker 1>with their hands on their faces or their shoulders in

0:36:06.760 --> 0:36:09.560
<v Speaker 1>a very nonchalant way, and it was actually a code

0:36:09.800 --> 0:36:13.880
<v Speaker 1>for the US to decipher. That's pretty incredible. It really

0:36:14.000 --> 0:36:17.120
<v Speaker 1>is so similar to what I was describing with the webcam,

0:36:17.239 --> 0:36:22.120
<v Speaker 1>the idea of just having this this foresight that you

0:36:22.120 --> 0:36:25.560
<v Speaker 1>know clearly you thought ahead, so that the person who

0:36:25.600 --> 0:36:28.640
<v Speaker 1>sees it knows what the meaning is behind whatever you're

0:36:29.040 --> 0:36:31.560
<v Speaker 1>whatever the images. Yes, and there there there are more

0:36:31.600 --> 0:36:35.280
<v Speaker 1>complicated versions of that. For instance, there you can systematically

0:36:35.440 --> 0:36:39.759
<v Speaker 1>change pixel colors to correspond with letters in the alphabet

0:36:39.960 --> 0:36:43.480
<v Speaker 1>and then only change like the first pixel every square

0:36:43.920 --> 0:36:47.280
<v Speaker 1>centimeter or millimeter in photo or every so many lines,

0:36:47.840 --> 0:36:50.319
<v Speaker 1>and people can get the message that way. That. Yeah,

0:36:50.360 --> 0:36:53.960
<v Speaker 1>that's definitely really very subtle, especially you know if you're

0:36:54.000 --> 0:36:56.720
<v Speaker 1>using things like black and white photos, where you can

0:36:56.840 --> 0:36:59.279
<v Speaker 1>you can change those things and they're not called out

0:36:59.360 --> 0:37:03.360
<v Speaker 1>as much, because you could make it like a square

0:37:03.400 --> 0:37:06.319
<v Speaker 1>that was going to be very dark a much lighter gray,

0:37:06.360 --> 0:37:08.600
<v Speaker 1>and if you know what to look for, then you

0:37:08.600 --> 0:37:11.200
<v Speaker 1>could see the pattern but otherwise you might just think, oh,

0:37:11.400 --> 0:37:14.279
<v Speaker 1>this is just poor developing or whatever. It's it's the

0:37:14.360 --> 0:37:18.040
<v Speaker 1>it's a graininess of the photo. Um. You could use

0:37:18.160 --> 0:37:20.799
<v Speaker 1>an existing piece of text, like a newspaper. This was

0:37:20.920 --> 0:37:23.399
<v Speaker 1>used during the Cold War all the time, where uh

0:37:23.480 --> 0:37:27.759
<v Speaker 1>you would use like a pen to put tiny holes

0:37:27.800 --> 0:37:31.120
<v Speaker 1>above important letters, and then so you would grab the

0:37:31.160 --> 0:37:32.920
<v Speaker 1>newspaper hold it up so you can see where the

0:37:32.920 --> 0:37:35.600
<v Speaker 1>holes were, and that would give you the letters to

0:37:35.680 --> 0:37:38.120
<v Speaker 1>spell out or sometimes a full word to spell out

0:37:38.160 --> 0:37:41.960
<v Speaker 1>whatever the secret message was. UM. Or you might use

0:37:42.000 --> 0:37:44.040
<v Speaker 1>a dot with invisible ink if you wanted to make

0:37:44.040 --> 0:37:46.520
<v Speaker 1>sure people like could pick up the newspaper and hold

0:37:46.600 --> 0:37:50.239
<v Speaker 1>it up and not see light coming through at strategic locations.

0:37:51.080 --> 0:37:52.640
<v Speaker 1>But then of course you would have to treat the

0:37:53.200 --> 0:37:55.719
<v Speaker 1>newspaper to whatever it was that you know, would bring

0:37:55.760 --> 0:37:58.880
<v Speaker 1>the invisible inc ounts are really important and steagatography like

0:37:58.920 --> 0:38:03.240
<v Speaker 1>they're used in many way. Yeah, yeah, there's I actually

0:38:03.280 --> 0:38:05.640
<v Speaker 1>got to see examples of this because I went to

0:38:05.719 --> 0:38:09.440
<v Speaker 1>the Spy Museum which is in Washington, d C. And

0:38:09.480 --> 0:38:13.520
<v Speaker 1>they had examples of micro dots. And micro dots are

0:38:13.680 --> 0:38:16.480
<v Speaker 1>kind of think of it like micro film. It's tiny

0:38:16.600 --> 0:38:20.279
<v Speaker 1>little bits of film that look like a period. That's

0:38:20.280 --> 0:38:23.120
<v Speaker 1>how small they are. And unless you were to hold

0:38:23.160 --> 0:38:25.600
<v Speaker 1>it up and see that it was in fact film

0:38:25.760 --> 0:38:29.680
<v Speaker 1>and not just a solid blob of ink, you would

0:38:29.680 --> 0:38:32.759
<v Speaker 1>never have suspected of being anything other than a punctuation mark.

0:38:33.480 --> 0:38:37.040
<v Speaker 1>And it can hold an incredible amount of information because

0:38:37.440 --> 0:38:39.680
<v Speaker 1>you know they're There are ways to enlarge photos. We're

0:38:39.680 --> 0:38:43.640
<v Speaker 1>talking about the old film style, right. This doesn't mean

0:38:43.680 --> 0:38:46.600
<v Speaker 1>you can do it digitally too, but we're talking old school.

0:38:47.280 --> 0:38:49.720
<v Speaker 1>So there are ways where you could take a photo

0:38:49.760 --> 0:38:51.200
<v Speaker 1>and then blow it up and blow it up and

0:38:51.239 --> 0:38:53.320
<v Speaker 1>blow it up so that you get like a poster

0:38:53.440 --> 0:38:55.799
<v Speaker 1>size or larger. Well, there are also ways where you

0:38:55.800 --> 0:38:57.640
<v Speaker 1>could shrink it down and shrink it down and shrink

0:38:57.640 --> 0:39:00.759
<v Speaker 1>it down, and uh, I was reading one way that

0:39:00.840 --> 0:39:03.279
<v Speaker 1>cuts so technical that I gave up on the chance

0:39:03.320 --> 0:39:06.720
<v Speaker 1>of trying to even describe it. But ultimately they said

0:39:07.520 --> 0:39:12.719
<v Speaker 1>it was two hundred and ten times smaller than the

0:39:12.760 --> 0:39:16.040
<v Speaker 1>original photograph. And so you could take a picture of

0:39:16.080 --> 0:39:19.200
<v Speaker 1>say a document, top secret document, and then you shrink

0:39:19.239 --> 0:39:21.000
<v Speaker 1>it down to this size so it looks like it's

0:39:21.040 --> 0:39:23.400
<v Speaker 1>a you know, a period. You just cut out a

0:39:23.440 --> 0:39:26.439
<v Speaker 1>little piece of the paper, you insert this in and

0:39:26.719 --> 0:39:29.320
<v Speaker 1>to casual glance, it seems like it's just a regular

0:39:29.360 --> 0:39:33.840
<v Speaker 1>sheet of paper with punctuation. But when you are in

0:39:33.880 --> 0:39:36.240
<v Speaker 1>the right hands, which might be the wrong hands, depending

0:39:36.239 --> 0:39:39.319
<v Speaker 1>on what side you're on, then you can find out, um,

0:39:39.640 --> 0:39:41.960
<v Speaker 1>what is actually there. This was a process that was

0:39:42.000 --> 0:39:46.160
<v Speaker 1>created by a man named Emmanuel goldberg Um and used

0:39:46.200 --> 0:39:50.640
<v Speaker 1>it for spying, and very popular, particularly amongst Soviet Union

0:39:50.760 --> 0:39:53.799
<v Speaker 1>spies at the time. I would imagine nowadays if you

0:39:54.080 --> 0:39:56.520
<v Speaker 1>used micro dots in a digital format, it would be

0:39:56.560 --> 0:39:59.000
<v Speaker 1>a lot harder to detect because you couldn't hold up

0:39:59.000 --> 0:40:02.359
<v Speaker 1>the paper and see the something was amiss, Yeah, yeah,

0:40:02.680 --> 0:40:08.399
<v Speaker 1>it was. It's the game has changed significantly, and by

0:40:08.400 --> 0:40:10.759
<v Speaker 1>this time, obviously we're talking about something a lot more

0:40:10.800 --> 0:40:17.400
<v Speaker 1>subtle than a dead rabbit. Yeah. But but sometimes we

0:40:17.440 --> 0:40:19.720
<v Speaker 1>can have things that are just as irritating as maybe

0:40:19.719 --> 0:40:22.160
<v Speaker 1>a dead rabbit would be, such as spam the mickry

0:40:22.640 --> 0:40:26.400
<v Speaker 1>uh disguising messages that you want to send as spam

0:40:26.520 --> 0:40:30.400
<v Speaker 1>emails or nonsensical musings or what not. You do this

0:40:30.480 --> 0:40:33.600
<v Speaker 1>by messing up the placement of the punctuation, or the

0:40:33.600 --> 0:40:35.799
<v Speaker 1>type of the fonts, or the grammar of the message.

0:40:36.160 --> 0:40:38.960
<v Speaker 1>As a means to communicating the secret. Yeah, I love this.

0:40:39.040 --> 0:40:42.720
<v Speaker 1>I actually saw an example of this where, uh, someone

0:40:42.960 --> 0:40:47.160
<v Speaker 1>used grammar as the key indicator, and so you would

0:40:47.200 --> 0:40:50.360
<v Speaker 1>read the message and whenever you found a grammatical error,

0:40:50.400 --> 0:40:52.759
<v Speaker 1>that was actually an indicator that this is where you

0:40:52.760 --> 0:40:56.439
<v Speaker 1>need to pay attention. Uh, that was kind of interesting. Well,

0:40:56.960 --> 0:40:59.239
<v Speaker 1>you would think it would be easy to decipher, but

0:40:59.400 --> 0:41:02.759
<v Speaker 1>with as much spam email as everybody gets nowadays, you

0:41:02.800 --> 0:41:05.000
<v Speaker 1>don't even think to look, well, right, yeah, you just

0:41:05.480 --> 0:41:08.239
<v Speaker 1>especially if you were to broadcast this, so that it's

0:41:08.280 --> 0:41:11.600
<v Speaker 1>not something that just one person gets, because again, we're

0:41:11.640 --> 0:41:14.520
<v Speaker 1>all used to getting that spam. Most of us would

0:41:14.560 --> 0:41:16.879
<v Speaker 1>never even look twice at it. We would just see, oh,

0:41:17.040 --> 0:41:21.080
<v Speaker 1>spam message deleted. So you could actually have security by

0:41:21.160 --> 0:41:24.240
<v Speaker 1>sending it to lots of people, because then it looks

0:41:24.280 --> 0:41:27.360
<v Speaker 1>like it's quote unquote legitimate spam. That seems like a

0:41:27.400 --> 0:41:29.680
<v Speaker 1>weird thing to say, but that's that's where it is.

0:41:30.080 --> 0:41:34.600
<v Speaker 1>Now we're getting into the more modern versions where this

0:41:34.680 --> 0:41:37.520
<v Speaker 1>is where we need things like a disk analysis software

0:41:37.560 --> 0:41:40.160
<v Speaker 1>in order to discover it. We have a little bit

0:41:40.160 --> 0:41:42.480
<v Speaker 1>more to say about steganography, but before we get to that,

0:41:42.560 --> 0:41:53.799
<v Speaker 1>let's take another quick break. So digital files. Let's talk

0:41:53.840 --> 0:41:56.840
<v Speaker 1>about these in general, and this can refer to pretty

0:41:56.880 --> 0:42:00.880
<v Speaker 1>much any kind of digital file like audio, video, images,

0:42:01.360 --> 0:42:04.640
<v Speaker 1>any of that sort of stuff. So we all know

0:42:04.760 --> 0:42:07.919
<v Speaker 1>digital files are made up ultimately of strings of ones

0:42:07.960 --> 0:42:11.640
<v Speaker 1>and zeros. Yeah, so here's the thing. Some of those

0:42:11.640 --> 0:42:14.680
<v Speaker 1>bits are more important than others. Not all bits are equal.

0:42:15.400 --> 0:42:18.719
<v Speaker 1>Some of those bits are not so important. So if

0:42:18.719 --> 0:42:22.440
<v Speaker 1>you were to pick the least significant bits or l

0:42:22.600 --> 0:42:24.919
<v Speaker 1>s B s, you can do something called the least

0:42:24.960 --> 0:42:29.439
<v Speaker 1>significant bit insertion, which is where you alter a bit,

0:42:30.280 --> 0:42:34.200
<v Speaker 1>and by altering a series of bits, you can create

0:42:34.280 --> 0:42:39.000
<v Speaker 1>a message. Now, it takes several bits to make just

0:42:39.200 --> 0:42:42.440
<v Speaker 1>one character in the alphabet, so you have to be

0:42:42.600 --> 0:42:45.520
<v Speaker 1>very succinct with your messages because the more of these

0:42:45.560 --> 0:42:48.560
<v Speaker 1>you mess up, the more likely that will it will

0:42:48.600 --> 0:42:53.880
<v Speaker 1>be detectable by somebody who's paying really close attention, either

0:42:54.480 --> 0:42:58.000
<v Speaker 1>close attention to your activities or close attention to the file.

0:42:58.640 --> 0:43:01.279
<v Speaker 1>So if you do it well, and you and you're

0:43:01.440 --> 0:43:05.000
<v Speaker 1>very careful with it, most people are never gonna notice.

0:43:05.000 --> 0:43:07.200
<v Speaker 1>And this is what we talk about when someone posts

0:43:07.280 --> 0:43:10.440
<v Speaker 1>an image to a public forum and there's a hidden

0:43:10.440 --> 0:43:16.480
<v Speaker 1>message in those bits. Uh Yeah, And generally speaking, you

0:43:16.480 --> 0:43:18.600
<v Speaker 1>want to go. If you're making one of these, you

0:43:18.640 --> 0:43:21.480
<v Speaker 1>want to go with a lossless format as opposed to

0:43:21.600 --> 0:43:26.120
<v Speaker 1>lossy compressed versions, because technically you would normally create this

0:43:26.120 --> 0:43:30.120
<v Speaker 1>this message in the lossless fine style and put it

0:43:30.160 --> 0:43:32.680
<v Speaker 1>in there and then allow it to be compressed. So

0:43:32.840 --> 0:43:35.600
<v Speaker 1>if it's a lossless format that then is compressed, you

0:43:35.600 --> 0:43:39.839
<v Speaker 1>don't lose any information that way. Uh. These compression algorithms

0:43:39.840 --> 0:43:42.600
<v Speaker 1>are very good at keeping the original information in tact,

0:43:42.680 --> 0:43:44.239
<v Speaker 1>so that way you know your message is not going

0:43:44.280 --> 0:43:48.480
<v Speaker 1>to get altered lossy formats. The way lossy formats work

0:43:48.560 --> 0:43:51.600
<v Speaker 1>is they look for information that doesn't seem important and

0:43:51.600 --> 0:43:53.759
<v Speaker 1>then they drop it, and that's one of the ways

0:43:53.760 --> 0:43:56.640
<v Speaker 1>they compressed the file size. So if you put a

0:43:56.719 --> 0:43:59.160
<v Speaker 1>secret message in a file that's then going to be

0:43:59.200 --> 0:44:02.200
<v Speaker 1>compressed in this way, your secret message could be part

0:44:02.239 --> 0:44:04.680
<v Speaker 1>of the stuff that gets dropped or altered and then

0:44:04.920 --> 0:44:07.399
<v Speaker 1>you can't communicate. So if you do want to post

0:44:07.480 --> 0:44:09.520
<v Speaker 1>a picture with a secret message on Facebook, you should

0:44:09.560 --> 0:44:11.640
<v Speaker 1>use a gift instead of a j pick right, unless

0:44:11.719 --> 0:44:15.040
<v Speaker 1>you insist on pronouncing it Jeff, in which case I

0:44:15.040 --> 0:44:16.640
<v Speaker 1>don't even want to talk to you. Did I say

0:44:17.120 --> 0:44:19.799
<v Speaker 1>you said gifts? Thank goodness. See that's the way I

0:44:19.840 --> 0:44:22.439
<v Speaker 1>pronounce it too. I don't because it if you put

0:44:22.440 --> 0:44:23.960
<v Speaker 1>a T at the end of that, it's a gift

0:44:24.840 --> 0:44:27.960
<v Speaker 1>and G stands for graphic. That's a good sound, not

0:44:28.080 --> 0:44:31.560
<v Speaker 1>a Jiuh, don't get me. But that's again not the

0:44:31.600 --> 0:44:34.640
<v Speaker 1>only type of digital information that could be altered, right, yeah,

0:44:34.680 --> 0:44:37.040
<v Speaker 1>I mean you can also alter the audio files. I

0:44:37.080 --> 0:44:39.759
<v Speaker 1>think we talked about this already. By yeah, I mean

0:44:40.239 --> 0:44:43.040
<v Speaker 1>not just not just digital audio, like not just m

0:44:43.120 --> 0:44:47.720
<v Speaker 1>P three but even void calls, voice over Internet protocol calls. Yeah,

0:44:47.800 --> 0:44:51.400
<v Speaker 1>you could. And there's also water market. Yes, there is

0:44:51.480 --> 0:44:55.640
<v Speaker 1>digital water marking, which is used to protect intellectual property

0:44:55.760 --> 0:44:59.080
<v Speaker 1>and by embedding information like the creator and the copyright

0:44:59.080 --> 0:45:02.520
<v Speaker 1>and et cetera into the file. Um. And that way,

0:45:02.560 --> 0:45:05.120
<v Speaker 1>if people try to claim it as their own, they

0:45:05.120 --> 0:45:07.399
<v Speaker 1>could say, nope, here's my water mark. See it's got

0:45:07.400 --> 0:45:10.040
<v Speaker 1>all my little information in there. Sure. Um. They also

0:45:10.320 --> 0:45:13.640
<v Speaker 1>use digital water water marking in a method called fingerprinting,

0:45:13.920 --> 0:45:17.880
<v Speaker 1>where they put a different, unique water mark on each

0:45:18.000 --> 0:45:21.200
<v Speaker 1>copy of the document or information they send out. And

0:45:21.320 --> 0:45:23.480
<v Speaker 1>that way, if someone tries to copy it or send

0:45:23.480 --> 0:45:25.960
<v Speaker 1>it out themselves to people who shouldn't get it, they

0:45:25.960 --> 0:45:28.959
<v Speaker 1>can say, oh, all of these have that unique water mark,

0:45:29.520 --> 0:45:32.440
<v Speaker 1>so we know who sent it. Bobby's in trouble because

0:45:32.560 --> 0:45:34.960
<v Speaker 1>this is the version that we sent to Bobby, and

0:45:35.000 --> 0:45:38.440
<v Speaker 1>everyone else got a different uh digital watermarks, so we

0:45:38.560 --> 0:45:41.359
<v Speaker 1>narrowed it down. We know who is at fault, or

0:45:41.400 --> 0:45:44.960
<v Speaker 1>we know who was compromised. Their security might have been compromised.

0:45:45.400 --> 0:45:49.560
<v Speaker 1>That's really cool. Uh yeah, then we've got subliminal channels,

0:45:49.600 --> 0:45:52.120
<v Speaker 1>which is not probably what you think it is. It

0:45:52.880 --> 0:45:56.759
<v Speaker 1>isn't like messages secretly in movies or playing my music

0:45:56.760 --> 0:45:58.880
<v Speaker 1>back where there's nothing like that. No, it's not like

0:45:58.960 --> 0:46:02.120
<v Speaker 1>John is dead, missing Miss Simmons, none of that. Uh. Now,

0:46:02.120 --> 0:46:06.560
<v Speaker 1>this is something that was proposed in by a mathematician

0:46:06.600 --> 0:46:13.280
<v Speaker 1>and cryptographer named Gustavus J. Simmons Uh and Simmons poet

0:46:13.400 --> 0:46:17.800
<v Speaker 1>proposed something called the prisoners problem, and it's a thought experiment.

0:46:17.800 --> 0:46:20.160
<v Speaker 1>This is the way the thought experiment works. You've got

0:46:20.160 --> 0:46:24.640
<v Speaker 1>two accomplices who are captured during the while they're trying

0:46:24.640 --> 0:46:28.960
<v Speaker 1>to commit a crime. Okay, Bob and Jen Narcott. Usually

0:46:28.960 --> 0:46:30.960
<v Speaker 1>it's Bob and Alice actually, so we got half of

0:46:31.000 --> 0:46:34.719
<v Speaker 1>them already. But Bob and Jennaricott. Uh, and there put

0:46:34.760 --> 0:46:37.760
<v Speaker 1>into the same jail, but Bob is put in one cell.

0:46:38.120 --> 0:46:40.200
<v Speaker 1>Jen has put on a cell on the opposite end

0:46:40.200 --> 0:46:41.759
<v Speaker 1>of the jail, so there's no way for them to

0:46:41.760 --> 0:46:47.040
<v Speaker 1>communicate directly. The warden is told, hey, these two want

0:46:47.040 --> 0:46:49.480
<v Speaker 1>to be able to talk. What how do we do that?

0:46:49.800 --> 0:46:52.600
<v Speaker 1>And the warden says, all right, here's the deal. You

0:46:52.719 --> 0:46:55.200
<v Speaker 1>will be allowed to communicate to each other, but I

0:46:55.280 --> 0:46:58.279
<v Speaker 1>get to see everything you send to one another. So

0:46:58.360 --> 0:47:01.759
<v Speaker 1>that way, if there's any messages about trying to break

0:47:01.760 --> 0:47:03.640
<v Speaker 1>out of jail, I'm going to get it immediately and

0:47:03.640 --> 0:47:05.960
<v Speaker 1>you're gonna be stopped. That's a nice warden, because I'd

0:47:05.960 --> 0:47:07.359
<v Speaker 1>just be like, you guys can't talk to each other,

0:47:07.440 --> 0:47:10.200
<v Speaker 1>deal with it. It gets nicer actually because Bob and

0:47:10.280 --> 0:47:13.320
<v Speaker 1>Jen say, all right, but we want to make sure

0:47:13.719 --> 0:47:18.040
<v Speaker 1>that our messages are genuinely coming from the other person.

0:47:18.680 --> 0:47:20.839
<v Speaker 1>And we want, in other words, we want to make

0:47:20.840 --> 0:47:24.120
<v Speaker 1>sure that you, Mr Warden, aren't going in and messing

0:47:24.200 --> 0:47:26.759
<v Speaker 1>up our messages. So we want to be able to

0:47:26.880 --> 0:47:30.560
<v Speaker 1>authenticate that our messages come from each other. So we

0:47:30.600 --> 0:47:32.400
<v Speaker 1>have to we want to be able to come up

0:47:32.440 --> 0:47:35.680
<v Speaker 1>with a way to say it's essentially a signature to

0:47:35.760 --> 0:47:38.800
<v Speaker 1>say yes, this actually came from Bob, or yes this

0:47:38.920 --> 0:47:42.600
<v Speaker 1>actually came from Jen, and the warden says, well, all right,

0:47:42.840 --> 0:47:45.359
<v Speaker 1>if you if you agree to my terms, I agree

0:47:45.400 --> 0:47:48.720
<v Speaker 1>to your terms. We can all do this. What Simmons

0:47:48.760 --> 0:47:51.360
<v Speaker 1>said was, if you're willing to give up a little

0:47:51.400 --> 0:47:55.440
<v Speaker 1>of that authentication security, you could take some of the

0:47:55.520 --> 0:48:00.399
<v Speaker 1>authentication message. Let's say that it's one fifth as long

0:48:00.520 --> 0:48:04.279
<v Speaker 1>as your actual message. Still would be really long for authentication,

0:48:04.360 --> 0:48:08.160
<v Speaker 1>but let's say so let's say that then you change

0:48:08.200 --> 0:48:11.200
<v Speaker 1>some of that authentication which normally would look like it's random,

0:48:11.400 --> 0:48:14.840
<v Speaker 1>like it's supposed to look random, so that way, uh,

0:48:14.880 --> 0:48:17.719
<v Speaker 1>you know, it's it's not if it's predetermined in a

0:48:17.760 --> 0:48:20.319
<v Speaker 1>way that everyone knows about, like if everyone knows the

0:48:20.400 --> 0:48:25.280
<v Speaker 1>key and the algorithm, then there's no authentication there. Uh.

0:48:25.280 --> 0:48:28.280
<v Speaker 1>But instead of it actually being random, it just looks random,

0:48:28.320 --> 0:48:31.960
<v Speaker 1>and you've actually changed some of the authentication message so

0:48:32.000 --> 0:48:34.560
<v Speaker 1>that that's where the secret messages. It's not within the

0:48:34.600 --> 0:48:38.560
<v Speaker 1>body of the actual message, it's in the authentication. Uh.

0:48:38.640 --> 0:48:41.279
<v Speaker 1>Now that was just a thought experiment, but turned out

0:48:41.280 --> 0:48:44.400
<v Speaker 1>that that's actually the way. A lot of this is

0:48:44.719 --> 0:48:48.319
<v Speaker 1>a lot of uh, steganography happens today too, is that

0:48:48.400 --> 0:48:50.799
<v Speaker 1>it ends up being in the authentication kind of like

0:48:50.840 --> 0:48:53.920
<v Speaker 1>the digital water mark, rather than in the message itself.

0:48:54.160 --> 0:48:57.320
<v Speaker 1>And that is an example another example of how steganography

0:48:57.360 --> 0:49:00.920
<v Speaker 1>and cryptography work together. Yeah, but is authentication is all

0:49:00.920 --> 0:49:05.439
<v Speaker 1>about cryptography, so it's it's manipulating the two. So let's

0:49:05.440 --> 0:49:09.480
<v Speaker 1>talk about people who actually use this stuff. Not a

0:49:09.480 --> 0:49:13.640
<v Speaker 1>big surprise. Yeah, that's a that's a big one. In fact, again,

0:49:13.680 --> 0:49:17.000
<v Speaker 1>at the Spy Museum, I saw example after example of

0:49:17.040 --> 0:49:18.680
<v Speaker 1>this kind of stuff. If you've never been to the

0:49:18.680 --> 0:49:20.720
<v Speaker 1>Spy Museum, by the way, if you ever go to Washington,

0:49:20.800 --> 0:49:25.240
<v Speaker 1>d C. I recommend it. Um. I recommend going early

0:49:26.040 --> 0:49:28.560
<v Speaker 1>because it's a very it's it's a museum that fills

0:49:28.640 --> 0:49:33.400
<v Speaker 1>up with kids, and kids are great, despite what I

0:49:33.440 --> 0:49:37.239
<v Speaker 1>say about them, but they do make it difficult to

0:49:37.280 --> 0:49:40.480
<v Speaker 1>maneuver through the museum and see everything. It sounds like

0:49:40.600 --> 0:49:42.520
<v Speaker 1>a lot of the stuff in the Spy Museum might

0:49:42.520 --> 0:49:46.440
<v Speaker 1>be pretty technical for a kid. Yeah, it can definitely

0:49:46.440 --> 0:49:48.320
<v Speaker 1>go over a kid's head. There's a lot of reading

0:49:48.360 --> 0:49:51.560
<v Speaker 1>because there are a lot of descriptions that explain what

0:49:51.800 --> 0:49:55.160
<v Speaker 1>the various devices and pictures and everything, what they mean

0:49:55.200 --> 0:49:58.560
<v Speaker 1>and there's some very interesting videos, but for kids they'd

0:49:58.560 --> 0:50:01.320
<v Speaker 1>be really boring. Oh it's one of those things where

0:50:01.440 --> 0:50:05.080
<v Speaker 1>like the idea of spies is really super sexy and

0:50:05.280 --> 0:50:08.399
<v Speaker 1>exciting and oh, James Bond, kids are gonna have fun.

0:50:09.160 --> 0:50:12.319
<v Speaker 1>But ultimately, I think you need to be like a

0:50:12.360 --> 0:50:16.239
<v Speaker 1>teenager or older. Maybe maybe not necessarily a teenager, but

0:50:16.280 --> 0:50:18.839
<v Speaker 1>like eleven or twelve to really kind of start thinking, oh,

0:50:19.040 --> 0:50:21.279
<v Speaker 1>this is kind of cool. Younger, I think it gets

0:50:21.280 --> 0:50:23.879
<v Speaker 1>lost on you. Although they have some cool interactive stuff too,

0:50:23.920 --> 0:50:26.600
<v Speaker 1>but you don't get to play with like shoeguns or anything.

0:50:26.680 --> 0:50:28.719
<v Speaker 1>Now that you don't get to play with shoeguns, but

0:50:28.760 --> 0:50:31.759
<v Speaker 1>you do get to assume a secret identity. They give

0:50:31.760 --> 0:50:34.000
<v Speaker 1>you a secret identity and you have to remember certain

0:50:34.040 --> 0:50:37.160
<v Speaker 1>facts about yourself so that if you're ever stopped and questioned,

0:50:37.800 --> 0:50:40.680
<v Speaker 1>you can answer with your cover. So if you forget

0:50:40.719 --> 0:50:48.200
<v Speaker 1>your cover, you're caught that So, so here's an example

0:50:48.320 --> 0:50:51.560
<v Speaker 1>of spies who use steganography. In two thousand nine and

0:50:51.600 --> 0:50:55.920
<v Speaker 1>two thousand ten, the FBI arrested ten covert Russian sleeper

0:50:56.000 --> 0:51:01.200
<v Speaker 1>agents who had been communicating in multiple ways, including stecken bography. Uh,

0:51:01.239 --> 0:51:03.719
<v Speaker 1>they'd be posting those photos that I was talking about,

0:51:03.719 --> 0:51:05.279
<v Speaker 1>the same sort of thing. They would post photos to

0:51:05.320 --> 0:51:09.239
<v Speaker 1>public forums, which in fact included the secret messages that

0:51:09.320 --> 0:51:12.240
<v Speaker 1>could be picked up if you ran them through analysis.

0:51:12.760 --> 0:51:14.600
<v Speaker 1>But you know, if you use that software, you can

0:51:14.640 --> 0:51:16.640
<v Speaker 1>pick them up, but otherwise you probably wouldn't notice. They

0:51:16.640 --> 0:51:19.719
<v Speaker 1>also used other things like in this blink and they

0:51:19.719 --> 0:51:24.160
<v Speaker 1>would do secret bag swaps, like classic spy stuff like

0:51:24.560 --> 0:51:27.320
<v Speaker 1>we'll meet in the trade station, I will give you bag,

0:51:27.520 --> 0:51:30.680
<v Speaker 1>you would walk away. They got discovered because of the

0:51:30.680 --> 0:51:33.839
<v Speaker 1>photos they were posting, right well, they that and the

0:51:33.880 --> 0:51:36.680
<v Speaker 1>fact that all right, so the photos you had to

0:51:36.760 --> 0:51:40.560
<v Speaker 1>run them through a particular piece of software to decode

0:51:40.560 --> 0:51:43.799
<v Speaker 1>what the message was, to pull out the letters that

0:51:43.800 --> 0:51:46.319
<v Speaker 1>were hidden inside these photos, right Because one of the

0:51:46.360 --> 0:51:50.239
<v Speaker 1>problems with with binary code is we humans, we don't

0:51:50.280 --> 0:51:53.280
<v Speaker 1>read it so well. So that's why we need software

0:51:53.280 --> 0:51:55.520
<v Speaker 1>to be able to pull that stuff and say, all right,

0:51:55.680 --> 0:51:58.520
<v Speaker 1>here are the bits that are important, here's what translates into.

0:51:59.200 --> 0:52:02.160
<v Speaker 1>So one of the things they needed was security to

0:52:02.239 --> 0:52:07.720
<v Speaker 1>make sure people couldn't access the software that would decode everything.

0:52:08.360 --> 0:52:11.359
<v Speaker 1>So they had a password that all of them had

0:52:11.400 --> 0:52:13.840
<v Speaker 1>to share. It was the same password they would type

0:52:13.840 --> 0:52:17.760
<v Speaker 1>in to the software to allow them to decrypt something.

0:52:18.360 --> 0:52:21.000
<v Speaker 1>And it was a twenty seven character long passwords. So

0:52:21.040 --> 0:52:26.120
<v Speaker 1>that's pretty secure except someone wrote it down, so the

0:52:26.120 --> 0:52:29.280
<v Speaker 1>FBI gets hold of the written password. By the way, folks,

0:52:29.360 --> 0:52:31.440
<v Speaker 1>if you write your password down and someone finds it,

0:52:31.680 --> 0:52:34.239
<v Speaker 1>guess what, You're not being secure. I don't care how

0:52:34.320 --> 0:52:36.959
<v Speaker 1>long your password is or how many upper and lower

0:52:37.000 --> 0:52:39.880
<v Speaker 1>case letters you throw in there. Uh. So, the FBI

0:52:39.960 --> 0:52:43.440
<v Speaker 1>found the password, they were able to intercept messages, they

0:52:43.440 --> 0:52:46.040
<v Speaker 1>were able to round up these ten sleeper agents, and

0:52:46.239 --> 0:52:51.400
<v Speaker 1>ultimately they were exchanged in a prisoner swap with Russia. UH.

0:52:51.640 --> 0:52:55.480
<v Speaker 1>Russia had four prisoners, three of whom had been accused

0:52:55.480 --> 0:52:59.279
<v Speaker 1>of high treason, all of whom were Russian citizens, but

0:52:59.400 --> 0:53:01.920
<v Speaker 1>they had all been colluding in some way or another

0:53:02.040 --> 0:53:04.600
<v Speaker 1>or been accused of colluding with the United States or

0:53:04.600 --> 0:53:07.560
<v Speaker 1>the United Kingdom. So these four were swapped out for

0:53:07.600 --> 0:53:09.520
<v Speaker 1>the ten that were found in America. And it was

0:53:09.560 --> 0:53:14.920
<v Speaker 1>all done kind of quietly because there were still, I

0:53:14.920 --> 0:53:18.600
<v Speaker 1>mean there still are today uh tensions between the United

0:53:18.600 --> 0:53:23.560
<v Speaker 1>States and Russia, and no one wanted to make that worse. Yeah, man,

0:53:23.719 --> 0:53:27.160
<v Speaker 1>could you imagine being one of the ten agents? And

0:53:27.239 --> 0:53:30.319
<v Speaker 1>you're worth not even being half a person. Well, and

0:53:30.800 --> 0:53:32.680
<v Speaker 1>not only that, but those ten people who went back

0:53:32.719 --> 0:53:36.239
<v Speaker 1>to Russia, they were not technically put in prison, but

0:53:36.280 --> 0:53:40.040
<v Speaker 1>they were detained for weeks for debrifing. So things did

0:53:40.120 --> 0:53:43.680
<v Speaker 1>not go well for them, not for all of them

0:53:43.680 --> 0:53:45.920
<v Speaker 1>anywhere now, especially probably not for the one who wrote

0:53:45.960 --> 0:53:49.880
<v Speaker 1>down the past words. So then we have examples in

0:53:49.960 --> 0:53:54.280
<v Speaker 1>military and government. Now, governments traditionally aren't crazy about steganography

0:53:54.360 --> 0:53:57.160
<v Speaker 1>software getting out into the wild because they don't want

0:53:57.160 --> 0:54:00.680
<v Speaker 1>people to be able to use it. Yeah, especially uh

0:54:00.840 --> 0:54:04.240
<v Speaker 1>foreign countries. They're actually have been laws put in place

0:54:04.280 --> 0:54:08.719
<v Speaker 1>to keep us from sending strong encryption software. Yeah. There

0:54:08.840 --> 0:54:11.279
<v Speaker 1>there's been a lot of debate in government about whether

0:54:11.400 --> 0:54:15.560
<v Speaker 1>or not it should be legal to export encryption software,

0:54:16.080 --> 0:54:18.520
<v Speaker 1>and there's been a lot of argument on either case,

0:54:18.680 --> 0:54:24.320
<v Speaker 1>and only that the government wasn't crazy about having public

0:54:24.480 --> 0:54:27.680
<v Speaker 1>arguments about this, or having arguments on the public record,

0:54:27.760 --> 0:54:30.200
<v Speaker 1>because that would mean people would find out that such

0:54:30.239 --> 0:54:33.680
<v Speaker 1>a thing even existed, and they were worried that even

0:54:33.719 --> 0:54:37.840
<v Speaker 1>people finding out that such software was possible would create

0:54:38.440 --> 0:54:43.640
<v Speaker 1>more incidents of people using it. So there was probably yeah,

0:54:43.760 --> 0:54:45.360
<v Speaker 1>but but it was it was a sort of a

0:54:45.360 --> 0:54:47.200
<v Speaker 1>catch twenty two. You know, they were like, well, we

0:54:47.239 --> 0:54:49.160
<v Speaker 1>need to talk about this, but we can't talk about

0:54:49.200 --> 0:54:51.080
<v Speaker 1>it because if people know we talked about it, they'll

0:54:51.080 --> 0:54:54.759
<v Speaker 1>know that it exists. Um. I have a quote from

0:54:55.800 --> 0:54:59.600
<v Speaker 1>meeting about how to handle this that said a substantial

0:54:59.600 --> 0:55:02.800
<v Speaker 1>amount of material is not appropriate for a public meeting.

0:55:02.920 --> 0:55:05.160
<v Speaker 1>That's exactly what I'm talking about, Like, we we can't

0:55:05.600 --> 0:55:08.120
<v Speaker 1>debate this because if it's on the public record, it

0:55:08.120 --> 0:55:14.520
<v Speaker 1>will cause problems. Um. Now, despite that, there ultimately there

0:55:14.520 --> 0:55:19.480
<v Speaker 1>would be uh allowances for exporting uh this encryption software

0:55:19.560 --> 0:55:22.520
<v Speaker 1>because business doesn't have to do business um, and we

0:55:22.560 --> 0:55:25.600
<v Speaker 1>want our businesses to be secure. Yeah. So then we

0:55:25.640 --> 0:55:29.799
<v Speaker 1>have terrorists who also have used steganography. The there was

0:55:29.960 --> 0:55:33.640
<v Speaker 1>there were reports after the nine eleven attacks that al

0:55:33.719 --> 0:55:37.160
<v Speaker 1>Qaeda had been using steganography techniques to communicate. They were

0:55:37.160 --> 0:55:41.200
<v Speaker 1>actually supposedly using pornography. They were hiding their messages there

0:55:41.200 --> 0:55:43.680
<v Speaker 1>because who would think to look for secret messages in

0:55:43.719 --> 0:55:48.560
<v Speaker 1>that very very much so. And also they were thought

0:55:48.600 --> 0:55:50.799
<v Speaker 1>to be less likely to have used them because it

0:55:50.840 --> 0:55:55.799
<v Speaker 1>goes against their very world view. But that's what made

0:55:55.800 --> 0:55:57.840
<v Speaker 1>it a perfect place to hide a message, and people

0:55:57.840 --> 0:56:02.279
<v Speaker 1>were worried that maybe they got the the tools from US,

0:56:02.360 --> 0:56:05.200
<v Speaker 1>right yeah. They were worried that they got the encryption

0:56:05.239 --> 0:56:08.799
<v Speaker 1>tools from those same companies that had argued that they

0:56:08.840 --> 0:56:12.480
<v Speaker 1>should be allowed to export their products, and in fact,

0:56:12.480 --> 0:56:16.400
<v Speaker 1>it created a lot of soul searching on the parts

0:56:16.400 --> 0:56:19.400
<v Speaker 1>of those people. They said, well, are we responsible? And

0:56:19.480 --> 0:56:23.279
<v Speaker 1>ultimately they came up with the conclusion that even if

0:56:23.320 --> 0:56:25.480
<v Speaker 1>a ban had been put in place, even if they

0:56:25.480 --> 0:56:28.319
<v Speaker 1>had never been allowed to sell their products, someone else

0:56:28.360 --> 0:56:30.560
<v Speaker 1>would have come up with the same thing because there

0:56:30.719 --> 0:56:33.600
<v Speaker 1>was a need. And so once you identify a need,

0:56:33.840 --> 0:56:36.520
<v Speaker 1>someone's going to come up with a solution. And there

0:56:36.520 --> 0:56:39.120
<v Speaker 1>are people who send stuff they shouldn't send all the time,

0:56:39.280 --> 0:56:43.440
<v Speaker 1>just just the challenging authority aspect of it. They're like, oh,

0:56:43.520 --> 0:56:45.560
<v Speaker 1>we shouldn't be using this or giving it to other people,

0:56:45.680 --> 0:56:48.959
<v Speaker 1>so we're going to write right yeah, there's the whole

0:56:49.040 --> 0:56:52.239
<v Speaker 1>argument of information wants to be free. And with that

0:56:52.320 --> 0:56:54.480
<v Speaker 1>you would say that, well, if you're the harder you

0:56:54.520 --> 0:56:57.279
<v Speaker 1>try to keep information away from people, the harder people

0:56:57.280 --> 0:56:59.640
<v Speaker 1>will try to make sure they get that information. But

0:57:00.400 --> 0:57:05.040
<v Speaker 1>having encryption software go out to foreign places and being

0:57:05.040 --> 0:57:08.200
<v Speaker 1>developed in in other places than the US means that

0:57:08.239 --> 0:57:12.440
<v Speaker 1>we have drive to create better encryption, right and decryption

0:57:12.560 --> 0:57:17.120
<v Speaker 1>and decryption. Yeah, so it actually it pushes it pushes

0:57:17.160 --> 0:57:20.200
<v Speaker 1>the art forward. And this is something we also see

0:57:20.200 --> 0:57:23.960
<v Speaker 1>an artificial intelligence, where we see as one part of

0:57:24.000 --> 0:57:28.640
<v Speaker 1>security gets better, uh than people find new ways to

0:57:28.760 --> 0:57:31.560
<v Speaker 1>make that security vulnerable, and then the security gets better.

0:57:32.080 --> 0:57:39.320
<v Speaker 1>And while individual attacks are terrible or individual like vulnerabilities

0:57:39.320 --> 0:57:43.240
<v Speaker 1>are terrible, the overall story is that stuff gets better

0:57:43.280 --> 0:57:46.680
<v Speaker 1>over time. But that's you know, that's a hard view

0:57:46.720 --> 0:57:49.840
<v Speaker 1>to take, depending upon the particulars in this case, a

0:57:49.920 --> 0:57:53.720
<v Speaker 1>very hard one to take. Also, writers and journalists have

0:57:53.840 --> 0:57:58.000
<v Speaker 1>used steganography sometimes just to entertain. Like there's this guy

0:57:58.720 --> 0:58:03.760
<v Speaker 1>h Brown, Charlie No, Dan, Yeah, he wrote, he wrote

0:58:03.800 --> 0:58:06.480
<v Speaker 1>a couple of books like Angels and Demons and Da

0:58:06.560 --> 0:58:10.360
<v Speaker 1>Vinci Code. It's almost said Da Vinci's Notebook. That's totally

0:58:10.360 --> 0:58:15.080
<v Speaker 1>different but really good. Yeah, some we're familiar with their

0:58:15.080 --> 0:58:18.480
<v Speaker 1>work there, but it's not the SAME's. They might have

0:58:18.560 --> 0:58:21.120
<v Speaker 1>messages in their music. Well I'm sure there are. There

0:58:21.120 --> 0:58:23.960
<v Speaker 1>are some, probably some very important messages and things like

0:58:24.640 --> 0:58:28.240
<v Speaker 1>the Magic Castle in the Sky so entitle of the song.

0:58:28.680 --> 0:58:32.000
<v Speaker 1>But yeah, so Dan Brown of course very famous for

0:58:32.040 --> 0:58:35.520
<v Speaker 1>writing these books and there were lots of examples of steganography,

0:58:35.600 --> 0:58:40.800
<v Speaker 1>In fact, key plot points revolving around uh steganography and

0:58:40.880 --> 0:58:44.680
<v Speaker 1>various kinds of religious iconography and other elements too. I

0:58:44.720 --> 0:58:46.640
<v Speaker 1>remember in Angels and Demons. I think it was Angels

0:58:46.640 --> 0:58:50.200
<v Speaker 1>and Demons where I got irritated by one of them

0:58:50.240 --> 0:58:53.720
<v Speaker 1>because it was a brand like a as in something

0:58:53.720 --> 0:58:58.439
<v Speaker 1>you would brand an animal with heat up and right, uh,

0:58:58.480 --> 0:59:03.920
<v Speaker 1>and if it's spelled out Illuminati. And then you discovered

0:59:03.920 --> 0:59:06.600
<v Speaker 1>that if you turned it degree so in other words,

0:59:06.600 --> 0:59:09.240
<v Speaker 1>if you turned it upside down, it's still spelled Illuminati.

0:59:09.640 --> 0:59:11.920
<v Speaker 1>And then the suggestion was because it was because the

0:59:11.960 --> 0:59:15.480
<v Speaker 1>way the font was designed and the way the way

0:59:15.520 --> 0:59:19.280
<v Speaker 1>it was was that only someone with the secret Illuminati

0:59:19.320 --> 0:59:22.320
<v Speaker 1>knowledge could ever make this thing. And I thought, that's

0:59:22.960 --> 0:59:26.640
<v Speaker 1>obviously crap, because you made it, Dan Brown, in order

0:59:26.640 --> 0:59:30.080
<v Speaker 1>for this to happen. So I don't know how you

0:59:30.120 --> 0:59:32.760
<v Speaker 1>could suggest that only one human being would or only

0:59:32.800 --> 0:59:34.920
<v Speaker 1>one group of human beings would be clever enough to

0:59:34.960 --> 0:59:39.840
<v Speaker 1>do this. That's demonstrably false. But anyway it was meant for, Yeah,

0:59:39.880 --> 0:59:43.680
<v Speaker 1>it's meant to be a good story. Also, artists obviously

0:59:43.880 --> 0:59:47.439
<v Speaker 1>very important in stagonography, particularly in the old ways where

0:59:47.520 --> 0:59:50.320
<v Speaker 1>you had to hide a message within something, you know,

0:59:50.640 --> 0:59:52.760
<v Speaker 1>and sometimes it was just done for entertainment. Sometimes it

0:59:52.800 --> 0:59:56.400
<v Speaker 1>was done for specific purposes to hide things. UM. I

0:59:56.440 --> 0:59:58.960
<v Speaker 1>had heard that Da Vinci hit a lot of secret

0:59:58.960 --> 1:00:01.320
<v Speaker 1>messages in his artwork. Yeah, we hear, we hear that

1:00:01.360 --> 1:00:05.080
<v Speaker 1>from da Vinci himself sometimes. Ariel and I have both

1:00:05.080 --> 1:00:07.640
<v Speaker 1>worked for the Georgia Renaissance Festival, and another a mutual

1:00:07.680 --> 1:00:11.680
<v Speaker 1>friend of ours, plays a young da Vinci very well. Yeah,

1:00:11.920 --> 1:00:14.000
<v Speaker 1>so if you ask him about his secret messages, he

1:00:14.040 --> 1:00:18.000
<v Speaker 1>has hilarious responses for that. But the the what you're

1:00:18.040 --> 1:00:20.080
<v Speaker 1>alluding to, of course, I mean, there are a lot

1:00:20.080 --> 1:00:24.600
<v Speaker 1>of theories I shouldn't say, hypotheses about secret messages hidden

1:00:24.600 --> 1:00:27.080
<v Speaker 1>in things like the Last Supper, which is one of

1:00:27.080 --> 1:00:30.440
<v Speaker 1>the most famous paintings Da Vinci ever produced. Um, And

1:00:30.480 --> 1:00:33.680
<v Speaker 1>of course, uh, the da Vinci Code ended up talking

1:00:33.680 --> 1:00:38.040
<v Speaker 1>a lot about that, obviously. Uh. One of the hypotheses

1:00:38.080 --> 1:00:41.040
<v Speaker 1>I saw, which was interesting was put forward by an

1:00:41.280 --> 1:00:46.400
<v Speaker 1>uh I T guy in information uh information technology professional

1:00:46.760 --> 1:00:52.720
<v Speaker 1>who had created a mirror image of the Last Supper,

1:00:52.760 --> 1:00:55.960
<v Speaker 1>so essentially took like imagine you have Photoshop and you

1:00:56.120 --> 1:00:58.840
<v Speaker 1>copy the image, but then you flip it, so now

1:00:58.880 --> 1:01:01.680
<v Speaker 1>it's it's inverted the other way, and then you make

1:01:01.760 --> 1:01:04.560
<v Speaker 1>it translucent, and then you lay it back down on

1:01:04.600 --> 1:01:06.960
<v Speaker 1>top of the original image. So now you've got this

1:01:07.160 --> 1:01:09.720
<v Speaker 1>doubled image on top of one another. And then said,

1:01:09.920 --> 1:01:12.120
<v Speaker 1>look at all the interesting things that pop up when

1:01:12.160 --> 1:01:15.440
<v Speaker 1>you do this. There were figures on either side that

1:01:15.560 --> 1:01:19.560
<v Speaker 1>were said to look like knights templar. There was in

1:01:19.640 --> 1:01:22.280
<v Speaker 1>the center in front of Jesus there appeared to be

1:01:22.320 --> 1:01:27.080
<v Speaker 1>a chalice like perhaps it's the Holy Grail and this

1:01:27.160 --> 1:01:28.760
<v Speaker 1>kind of thing, and that there appeared to be a

1:01:28.800 --> 1:01:32.360
<v Speaker 1>figure standing behind Jesus holding a baby. H a lot

1:01:32.400 --> 1:01:35.520
<v Speaker 1>of other elements that were supposedly brought to light. But

1:01:35.840 --> 1:01:39.000
<v Speaker 1>that raises the question one, how could da Vinci have

1:01:39.080 --> 1:01:42.920
<v Speaker 1>done this himself? Now, he was known for mirror writing,

1:01:43.160 --> 1:01:44.919
<v Speaker 1>where he could write with both hands, and he could

1:01:44.960 --> 1:01:47.440
<v Speaker 1>right right to left and left to right simultaneous. He

1:01:47.440 --> 1:01:49.600
<v Speaker 1>would have had to have painted two pictures left to

1:01:49.680 --> 1:01:51.280
<v Speaker 1>right and right to left at the same time and

1:01:51.320 --> 1:01:53.600
<v Speaker 1>lay them over each other. He would have to paint

1:01:53.600 --> 1:01:58.280
<v Speaker 1>two identical pictures. Yeah, and who would ever find out

1:01:58.320 --> 1:02:01.760
<v Speaker 1>about this? I mean, there's no way to to see

1:02:01.840 --> 1:02:05.240
<v Speaker 1>the message The whole point of steganography is to communicate

1:02:05.280 --> 1:02:08.520
<v Speaker 1>to someone. If no one knows that there's a message

1:02:08.560 --> 1:02:11.080
<v Speaker 1>there and no one knows how to get that message,

1:02:11.120 --> 1:02:15.200
<v Speaker 1>you're not communicating, you're just shouting, you are I mean,

1:02:15.880 --> 1:02:18.080
<v Speaker 1>he could have put that message in there just too

1:02:19.000 --> 1:02:20.520
<v Speaker 1>or not put a message in there, but put something

1:02:20.560 --> 1:02:22.720
<v Speaker 1>in there to seem like a message, just to mess

1:02:22.760 --> 1:02:26.200
<v Speaker 1>with people. That's possible. But yeah, most art historians kind

1:02:26.200 --> 1:02:30.120
<v Speaker 1>of dismissed these various hypotheses. Doesn't mean that they're all false.

1:02:30.200 --> 1:02:31.880
<v Speaker 1>It may mean, you know, there may have been things

1:02:31.920 --> 1:02:35.720
<v Speaker 1>that da Vinci threw into some uh, either as sketches

1:02:35.880 --> 1:02:39.640
<v Speaker 1>or his paintings or whatever, that were either just amusements

1:02:39.880 --> 1:02:42.760
<v Speaker 1>or you know, they weren't intended to be anything secret.

1:02:42.840 --> 1:02:45.520
<v Speaker 1>It was just something that he incorporated into the design.

1:02:45.600 --> 1:02:50.000
<v Speaker 1>It's possible, and then, you know, depending upon the guy,

1:02:50.560 --> 1:02:52.920
<v Speaker 1>probable da Vinci was it was a bit of an

1:02:52.920 --> 1:02:57.960
<v Speaker 1>eccentric isn't there an article about this on Yes? The

1:02:58.080 --> 1:03:02.920
<v Speaker 1>article is is, uh, how the da Vinci code doesn't work?

1:03:03.440 --> 1:03:05.479
<v Speaker 1>So if you want to know more about that, Yeah,

1:03:05.520 --> 1:03:08.520
<v Speaker 1>there's also an article about are there hidden messages in

1:03:08.600 --> 1:03:10.840
<v Speaker 1>the Last Supper? We have articles on both of those things,

1:03:10.880 --> 1:03:12.800
<v Speaker 1>so you should definitely check those out at how stuff

1:03:12.800 --> 1:03:15.960
<v Speaker 1>works dot com. Uh. Then there are other examples, like

1:03:16.040 --> 1:03:19.120
<v Speaker 1>one of my favorites is Mad magazines fold in, which

1:03:19.200 --> 1:03:24.560
<v Speaker 1>was created by the writer and artist Al Jaffee, who

1:03:24.960 --> 1:03:29.800
<v Speaker 1>created originally in nine four. It's been in practically every

1:03:29.840 --> 1:03:33.320
<v Speaker 1>Mad magazine since then. And if you've never seen a

1:03:33.360 --> 1:03:36.080
<v Speaker 1>fold in on Mad Magazine, then and I'm talking about

1:03:36.080 --> 1:03:40.600
<v Speaker 1>the actual magazine, not the television series, not Mad TV,

1:03:40.920 --> 1:03:42.680
<v Speaker 1>and not a digital copy of the night No, no,

1:03:42.760 --> 1:03:45.200
<v Speaker 1>you need the you need the physical one. It is

1:03:45.360 --> 1:03:47.920
<v Speaker 1>the the inside back cover is the fold in, and

1:03:47.960 --> 1:03:50.720
<v Speaker 1>it has two points, and you're supposed to fold one

1:03:50.760 --> 1:03:54.200
<v Speaker 1>point over to the second point, and it creates a

1:03:54.240 --> 1:03:56.880
<v Speaker 1>new image. So when you look at it, normally it's

1:03:56.920 --> 1:04:00.040
<v Speaker 1>one image, and it's the setup for a joke, and

1:04:00.040 --> 1:04:03.000
<v Speaker 1>you do the fold then it's the punchline to that joke,

1:04:03.520 --> 1:04:06.880
<v Speaker 1>and usually it's it's a twist on whatever. The big pictures.

1:04:06.920 --> 1:04:08.920
<v Speaker 1>And actually, Jeff, he said, if I didn't have to

1:04:09.000 --> 1:04:11.520
<v Speaker 1>worry about the big picture as opposed to a little picture,

1:04:11.560 --> 1:04:13.760
<v Speaker 1>I could turn out like twelve of these a day.

1:04:13.800 --> 1:04:16.160
<v Speaker 1>But getting them to work together takes a lot more

1:04:16.160 --> 1:04:19.600
<v Speaker 1>planning and the way he did it. He drew them

1:04:19.600 --> 1:04:22.880
<v Speaker 1>all by hand on a surface that did not fold,

1:04:23.600 --> 1:04:26.880
<v Speaker 1>so it had to look right when it was folded,

1:04:26.920 --> 1:04:30.400
<v Speaker 1>but he while he was drawing it, I couldn't fold

1:04:30.480 --> 1:04:32.880
<v Speaker 1>it to make sure it was working. After after I

1:04:32.960 --> 1:04:36.480
<v Speaker 1>encountered my first folding in a Mad magazine, I actually

1:04:36.480 --> 1:04:39.000
<v Speaker 1>went into a Where's Waldo book and tried to do

1:04:39.040 --> 1:04:42.520
<v Speaker 1>it in there and didn't work. No, No, I didn't

1:04:42.520 --> 1:04:46.200
<v Speaker 1>find Waldo any faster. No, I didn't find any secret punchline.

1:04:47.440 --> 1:04:50.320
<v Speaker 1>That's a little disappointed. He did, however, ruin the Where's Waldo? Books?

1:04:50.360 --> 1:04:55.800
<v Speaker 1>So there's that. Uh. Another Man Magazine contributor, Sergio Ariganez,

1:04:56.040 --> 1:04:59.480
<v Speaker 1>he used to draw a comic book called Grew the Wanderer,

1:05:00.080 --> 1:05:02.479
<v Speaker 1>which was about it's very cartoony. If you've ever seen

1:05:02.480 --> 1:05:05.000
<v Speaker 1>Sergio Ragan as his art style, you know it's cartoony.

1:05:05.400 --> 1:05:09.560
<v Speaker 1>And it was about a buffoonish barbarian character, very dim

1:05:09.560 --> 1:05:14.680
<v Speaker 1>witted character named Grew g r o O and very silly.

1:05:14.720 --> 1:05:18.200
<v Speaker 1>But he would hide a message in every comic book.

1:05:18.760 --> 1:05:22.720
<v Speaker 1>Uh usually said this is the secret message, or something like,

1:05:22.840 --> 1:05:25.439
<v Speaker 1>good job, you found the secret message. But it would

1:05:25.440 --> 1:05:28.400
<v Speaker 1>always be incorporated into the artwork in some way, like

1:05:28.400 --> 1:05:30.560
<v Speaker 1>in some cases it would be written into the scroll

1:05:30.600 --> 1:05:34.400
<v Speaker 1>work on a really elaborate uh fret board for a

1:05:34.440 --> 1:05:37.320
<v Speaker 1>loop something like that, so you would have to really

1:05:37.360 --> 1:05:40.040
<v Speaker 1>look for it. And again, if you didn't know there

1:05:40.080 --> 1:05:43.600
<v Speaker 1>was a message there, you probably never would have seen it. Yeah,

1:05:43.640 --> 1:05:45.440
<v Speaker 1>I feel like a lot of comics have done that

1:05:45.520 --> 1:05:47.360
<v Speaker 1>here and there. If you look really closely, you can

1:05:47.360 --> 1:05:49.320
<v Speaker 1>find I know there are some comics who hide their

1:05:49.440 --> 1:05:53.440
<v Speaker 1>name in pictures and the artwork as well, but there

1:05:53.440 --> 1:05:56.840
<v Speaker 1>are other people who use them too, like system administrators

1:05:57.200 --> 1:06:00.560
<v Speaker 1>UM just to make encryption extra secure, like talked about

1:06:00.560 --> 1:06:04.960
<v Speaker 1>before with authentication codes UM, and then like people who

1:06:05.040 --> 1:06:08.080
<v Speaker 1>just want to protect their intellectual property. You can even

1:06:08.120 --> 1:06:10.080
<v Speaker 1>do it for your own personal journal. If if you

1:06:10.160 --> 1:06:11.960
<v Speaker 1>write in a diary and you don't want anybody to

1:06:11.960 --> 1:06:15.040
<v Speaker 1>read it, you can read what you really want to say.

1:06:15.160 --> 1:06:17.200
<v Speaker 1>You can hide it in there, right, So the stuff

1:06:17.240 --> 1:06:19.919
<v Speaker 1>that you write could be, you know whatever, but the

1:06:19.960 --> 1:06:23.520
<v Speaker 1>actual meaning, the things that you truly want to preserve

1:06:23.800 --> 1:06:27.680
<v Speaker 1>for yourself, you could hide away from from people prying eyes.

1:06:28.280 --> 1:06:30.800
<v Speaker 1>So if you you know, if you if you're tired

1:06:30.840 --> 1:06:34.840
<v Speaker 1>of losing that little key to your lockable journal. I

1:06:34.880 --> 1:06:36.600
<v Speaker 1>know I gave up years ago. I have no idea

1:06:36.640 --> 1:06:41.120
<v Speaker 1>what's in that book anymore? Um, probably best left unknown. Probably,

1:06:41.480 --> 1:06:43.479
<v Speaker 1>you know, my past is a shady one at best.

1:06:43.920 --> 1:06:46.959
<v Speaker 1>So that kind of wraps up this discussion about steganography,

1:06:47.200 --> 1:06:49.720
<v Speaker 1>what it is, who uses it, you know, what goes

1:06:49.760 --> 1:06:52.920
<v Speaker 1>into it. It is a fascinating field. I mean again,

1:06:53.280 --> 1:06:56.200
<v Speaker 1>the idea of creating a way to communicate without anyone

1:06:56.280 --> 1:07:00.880
<v Speaker 1>ever being aware that it was an intention no communication

1:07:01.680 --> 1:07:04.680
<v Speaker 1>is I mean, it's kind of kind of awesome, it

1:07:04.920 --> 1:07:07.160
<v Speaker 1>really is. And the numerous ways that people have come

1:07:07.240 --> 1:07:10.480
<v Speaker 1>up with to do steganography is it's just mind blowing.

1:07:10.560 --> 1:07:13.920
<v Speaker 1>I'm not nearly that creative, no, I well, mostly I

1:07:13.960 --> 1:07:16.240
<v Speaker 1>don't have a lot of secret messages to send to people,

1:07:16.280 --> 1:07:17.880
<v Speaker 1>so I don't have a whole lot of occasion to

1:07:17.920 --> 1:07:21.240
<v Speaker 1>think on it. But yeah, it really does show people's

1:07:21.400 --> 1:07:23.680
<v Speaker 1>ingenuity to come up with new ways to hide things.

1:07:24.960 --> 1:07:27.480
<v Speaker 1>I hope you enjoyed that classic episode of tech stuff

1:07:27.520 --> 1:07:31.000
<v Speaker 1>back from If you have suggestions for topics I should

1:07:31.040 --> 1:07:34.280
<v Speaker 1>tackle in future episodes, or maybe you want to follow

1:07:34.360 --> 1:07:36.480
<v Speaker 1>up to something that you've heard in a classic episode,

1:07:36.560 --> 1:07:38.480
<v Speaker 1>let me know best way to do that is to

1:07:38.520 --> 1:07:40.800
<v Speaker 1>reach out on Twitter. The handle for the show is

1:07:40.880 --> 1:07:45.439
<v Speaker 1>text Stuff HSW and not talk to you again really soon.

1:07:50.720 --> 1:07:53.760
<v Speaker 1>Text Stuff is an I heart Radio production. For more

1:07:53.840 --> 1:07:57.240
<v Speaker 1>podcasts from I Heart Radio, visit the i heart Radio app,

1:07:57.360 --> 1:08:00.520
<v Speaker 1>Apple Podcasts, or wherever you listen to your faith were chums.