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Japanese authors have identified two events that influenced the Japanese army's decision to invite a foreigner to improve their cryptology. The first was an incident during the Siberian Intervention. The Japanese army came into possession of some Soviet diplomatic correspondence, but their cryptanalysts were unable decipher the messages.
Japanese Navy ORANGE cryptographic device captured by US Navy. In the history of cryptography, 91-shiki ōbun injiki (九一式欧文印字機, "System 91 Typewriter for European Characters") or Angōki Taipu-A (暗号機 タイプA, "Type A Cipher Machine"), codenamed Red by the United States, was a diplomatic cryptographic machine used by the Japanese Foreign Office before and during World ...
Analog of the Japanese Type B Cipher Machine (codenamed Purple) built by the U.S. Army Signal Intelligence Service Purple analog equipment in use. The "System 97 Typewriter for European Characters" (九七式欧文印字機 kyūnana-shiki ōbun injiki) or "Type B Cipher Machine", codenamed Purple by the United States, was an encryption machine used by the Japanese Foreign Office from February ...
David Kahn notes in The Codebreakers that modern cryptology originated among the Arabs, the first people to systematically document cryptanalytic methods. [15] Al-Khalil (717–786) wrote the Book of Cryptographic Messages, which contains the first use of permutations and combinations to list all possible Arabic words with and without vowels.
Visual cryptography is a cryptographic technique which allows visual information (pictures, text, etc.) to be encrypted in such a way that the decrypted information appears as a visual image. One of the best-known techniques has been credited to Moni Naor and Adi Shamir , who developed it in 1994. [ 1 ]
From Wikipedia, the free encyclopedia. Redirect page. Redirect to: Japanese cryptology from the 1500s to Meiji
Japanese aesthetics comprise a set of ancient ideals that include wabi (transient and stark beauty), sabi (the beauty of natural patina and aging), and yūgen (profound grace and subtlety). [1] These ideals, and others, underpin much of Japanese cultural and aesthetic norms on what is considered tasteful or beautiful.
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