Friday, 3 June 2016

Rongorongo: The Key to Future Cryptography
Mystery Language: Rongorongo
Between the years of 300 AD-1200 AD, the Polynesian people migrated and established what is now known as Easter Island (Martin). After an originally successful civilization, the Polynesians overpopulated and overused their resources which resulted in an eventual population decline. In 1722, European explorers further cut into their population by bringing diseases, also giving the island its more popular name “Easter Island”(Martin). Nobody is exactly sure when the Rongorongo texts were written, but historians have determined that the language predates the arrival of the Europeans in the 1700s (Martin).

Penarc
June 4, 2008 Author: penarc , creative commons licensed
The major discovery of the Rongorongo glyphs occurred in 1868 almost accidentally. The Bishop of Tahiti was given a strange gift of one of these texts (Martin). The text consisted of hieroglyphic writing carved on a small wooden board. However, he was unable to find anyone on Easter Island who understood the language and could decipher the text due to the fact so many of the indigenous people had been lost to disease and slavery.

Although the Rongorongo texts have never been interpreted, cryptographers and historians have determined certain characteristics of the hieroglyphics. The texts were primarily written as historical accounts of the Polynesian people and were not intended to be secret texts. Rather, they chronicled all the historical events of their civilization. At first, the texts were written on paper created from banana leaves; however, after the leaves started to rot, the King had the elite class rewrite the historical texts onto toromiro wood tablets (Martin).

The major impediment to translating the Rongorongo texts is the sheer number of glyphs. The texts contain over one hundred twenty different basic glyphs with almost five hundred other variations on these glyphs. The glyphs include human and animal forms along with geometric shapes. The animals include many birds while the shapes often represent common items the Polynesian people used on Rapa Nui. Since it is a distinctive language and not a text representing other letters, there is not a special key for decoding it.


It is thought that Rongorongo glyphs may represent idiosyncratic mnemonic devices meant to remind the reader of something that is representative of something else, such as using a “knot” symbol used to represent marriage (Martin). This differs from almost all written forms of languages today that have characters representing only sounds or only letters.

Rongorongo texts contain a mixture of symbols and a phonetic alphabet written in a unique style known as reverse boustrophedon (Ager). The text begins in the lower left corner and is read left-to-right. Then the text must be turned one hundred and eighty degrees to read the next line left-to-right, and the process is repeated with each line.

Many people have tried to decipher the Rongorongo hieroglyphics over the last century and a half but have failed to unlock the mystery of this unique language. Although Rongorongo was not created to hide the meaning of the writer, it has been highly successful in keeping its secrets. If someone is able to finally interpret this language, they could use it to send secret messages and would have an enormous advantage over the cryptanalysts.

For example, during World War II, the United States used the Navajo code talkers to help send messages to American troops overseas (Singh-Chapter 5). Even when the enemy intercepted these messages, they were unable to decipher them because the Navajo language, only spoken and not written, was such an obscure language with no written history. The Navajo code talkers illustrate to us what happens when people use an obscure language with no key to send encoded messages. The United States military was able to expediently send messages to the U.S. army without any worries of cryptanalysts trying to intercept the message.

The Navajo Code is the only wartime code/cipher that was never deciphered by the enemy because our military went to extremes to make sure that a code talker never fell into enemy hands. This could allow the enemy to torture the code talker into giving away some of the secrets of the code allowing a crib to be developed. Even a few words could help the enemy decipher a code. For example, cryptographers were able to use the encrypted annual birthday messages sent to Hitler to decipher parts of the German code because the meaning of the messages was so obvious.

The Future of Cryptography?

If someone was able to use the Rongorongo hieroglyphic language or create a different language that only the sender and receiver know, then it wouldn’t matter if someone intercepted the message because it would be impossible to decipher the message. The interceptor would not be able to decipher the text because there is no key involved in solving the message and no crib could be developed. Using an entirely different language that only the sender and the receiver understand could be groundbreaking because the methods used to decipher a code or cipher would not apply. The only way to break the code would be by knowing the language.

For example, imagine how much more difficult it would have been for the British cryptanalysts in their quest to solve the Enigma machine during World War II if they had not known the German language at all. It would be impossible. This is what makes the Rongorongo texts nearly indecipherable.

For future military actions, many countries should consider using this tactic for sending secret messages. Although it would be time consuming at first to learn an entirely new language that does not relate to any current languages, the result would be worth the difficulties because it would be more efficient in sending quick messages with no concern of interceptors. A new breed of “code talkers” could be used to be dedicated to learning and using the code. The Rongorongo hieroglyphics may show us the next step in cryptography. This could be a check mate for the cryptanalysts because this new innovation in cryptography could put cryptographers ahead in the race for keeping secret messages safe.


This post is part of a series of essays on the history of cryptography produced by students at Vanderbilt University in honor of the release of The Imitation Game, a major motion picture about the life of British codebreaker and mathematician Alan Turing. The students wrote these essays for an assignment in a first-year writing seminar taught by mathematics instructor Derek Bruff.  For more information on the cryptography seminar, see the course blog.  And for more information on The Imitation Game, which opens in the US on November 28, 2014, see the film’s website.
ABOUT CROP CIRCLES
Introduction
Crop circles are organized harmonic forms that manifest around the world, the result of an energy interacting with the physical world - in this case plants. This energy is comprised of light, sound and magnetism. To date, crop circles have been reported in 29 countries, and have appeared in mediums such as wheat, barley, canola, trees, ice, rice paddies even linseed.
Crop circles designs are constructed from circular arcs and straight lines. They are generally form at night between the hours of 2-4 am, traditionally during the shortest evenings of the English year when darkness lasts but four hours. A lucky few have witnessed large balls of incandescent colour project a beam of golden light into a field which next morning displays a new crop circle. During surveillance project in 1989 a Japanese TV crew filmed a crop circle manifesting in the early hours of the morning, showing a swirl motion of energy lasting less than fifteen seconds. Such a rapid rate of creation confirmed the unpublished eyewitness reports.

Theories and explanation
Unlike other mysterious phenomenon such as psychic powers, ghosts, or Bigfoot, there is no doubt that crop circles are "real." The evidence that they exist is clear and overwhelming. The real question is what creates them. 
Crop circle enthusiasts have come up with many theories about what creates the patterns, ranging from the plausible to the absurd. One explanation in vogue in the early 1980s was that the mysterious circle patterns were accidentally produced by the especially vigorous sexual activity of horny hedgehogs. Some people have suggested that the circles are somehow created by incredibly localized and precise wind patterns, or by scientifically undetectable Earth energy fields and meridians called ley lines.
Many who favour an extra-terrestrial explanation claim that aliens physically make the patterns themselves from spaceships; others suggest that they do it using invisible energy beams from space, saving them the trip down here. Still others believe that it is human, not extra-terrestrial, thought and intelligence that is behind the patterns — not in the form of hoaxers but some sort of global psychic power that manifests itself in wheat and other crops.
While there are countless theories, the only known, proven cause of crop circles is humans. Their origin remained a mystery until September 1991, when two men confessed that they had created the patterns for decades as a prank to make people think UFOs had landed (they had been inspired by the 1966 Tully UFO report). They never claimed to have made all the circles — many were copycat pranks done by others — but their hoax launched the crop circle phenomena.

Most crop circle researchers admit that the vast majority of crop circles are created by hoaxers. But, they claim, there's a remaining tiny percentage that they can't explain. The real problem is that (despite unproven claims by a few researchers that stalks found inside "real" crop circles show unusual characteristics), there is no reliable scientific way to distinguish "real” crop circles from man ma made one

Crop circle features
While there are exceptions, virtually all crop circles share a set of common characteristics.
Circles. Crop circles, as the name implies, almost always involve circles — rarely triangles, rectangles, or squares, though some designs contain straight or curved lines.  Perhaps not coincidentally, a circle is the easiest pattern for hoaxers to create.
Nocturnal creation. Crop circles are formed overnight, often sighted by farmers or passersby the next morning. Though there seems no logical reason for extraterrestrials or earth energies to only create patterns at night, it is obviously a great advantage for hoaxers to create the designs under the cover of darkness; full moon nights are especially popular.
Camera shyness. Crop circles have never been recorded being made (except, of course, for those created by hoaxers). This is a very suspicious trait; after all, if mysterious earthly forces are at work, there's no reason to think that they wouldn't happen when cameras are recording. The same thing is true with other explanations including alien spacecraft; the only things ever caught on camera making the circles are hoaxers.

No obvious human trace. Most crop circles show little or no signs of human contact. While many people consider this very mysterious, in fact it's quite logical: Hoaxers who devote the time and effort required to design and create the (often complex) crop circles are unlikely to carelessly leave obvious signs of their activities.
Access to roads: Crop circles usually appear in fields that provide reasonably easy public access, close to roads and highways. They rarely appear in remote, inaccessible areas. Because of this, the patterns are usually noticed within a day or two of their creation by passing motorists.
There are many theories about what creates crop circles, from aliens to mysterious vortices to wind patterns, but they all lack one important element: good evidence. Perhaps one day a mysterious, unknown source will be discovered for crop circles, but until then perhaps they are the bets thought of as collective public art


The Designs 
Crop circle formations are absolutely stunning in their design, intricacy, and precise measurements. Many of them are huge, covering the space of ten football fields. When carefully measured, the geometrical designs are accurate to within an eighth of an inch! This is true even if the formation is a thousand feet long! (That's the height of a hundred-story building.) For example, a hundred-foot circle will have an accurate and identical radius on all sides to within the thickness of a single stalk of grain.


Pictograms and Insectograms 
Some of the more complex designs are called pictograms. Insectograms are designs that resemble insects, although there is no apparent relationship of crop circles to insects. It's just a name.
 Cellular Changes 
The grasses involved in crop circles all exhibit cellular changes. Anyone, with little or no training and just using the naked eye can take a stalk of grain from a crop circle and compare it to another stalk from the same field that was not a part of the crop circle and clearly see the difference. Crop-circle grass has expanded nodes and stalks will be bent up to a 90-degree angle with no breakage.
You can see the expansion and change of every single cell of the crop circle grass with a basic elementary school microscope. Although many have tried, no one has discovered any process on earth that can duplicate these cellular changes.

 Magnetic Fields and Radioactivity 
Crop circles have a strong magnetic field in and around them, which is measurable. Many crop circles also exhibit strange patterns of radioactivity in which the level of radioactivity at a given spot will fluctuate up and down. According to our laws of physics, this is thought to be impossible because radioactivity is constant. That's why it is used for carbon-dating ancient artifacts.
Grass Direction 
True crop circles often have several layers of grass in the design. Often the bottom layers of grass will flow in one direction, while another layer on top flows in the complete opposite direction. The grass has even been found delicately braided together
Metallic disks 
Often, thin metallic disks about the size of a quarter are found in crop circles. They have also been found near cattle mutilations. When these disks were analyzed by metallurgy labs at the University of Michigan and at MIT, they were found to be composed of a combination of titanium, silicone, and oxygen. Both labs concluded that no industrial match can be found on this planet.

Not only that, but when the disks were touched by any metal object such as tweezers or a pen, they immediately turned into a clear liquid. The labs theorized that the disks had somehow been electrically charged, with the charge maintaining the molecular structure of the disk. When touched with metal, the charge was grounded and dissipated, which allowed the "metal" to return to its true liquid form.
BELMEZ FACES
INTRODUCTION
The Bélmez Faces or the Faces of Bélmez is an alleged paranormal phenomenon in a private house in Spain which started in 1971 when residents claimed images of faces appeared in the concrete floor of the house. These images have continuously formed and disappeared on the floor of the home.
Located at the Pereira family home at Calle Real 5, Bélmez de la Moraleda, Jaén, Andalusia, Spain, the Bélmez faces have been responsible for bringing large numbers of sightseers to Bélmez. The phenomenon is considered by some parapsychologists the best-documented and "without doubt the most important paranormal phenomenon in the [20th] century".[1]
Various faces have appeared and disappeared at irregular intervals since 1971 and have been frequently photographed by the local newspapers and curious visitors. Many Bélmez residents believe that the faces were not made by human hand. Some paranormal investigators believe that it is a thoughtographic phenomenon, subconsciously produced by the deceased former owner of the house, María Gómez Cámara.
Skeptical researchers have performed extensive tests on the faces and believe that fakery has been involved and the images have been applied with lead paint. The faces are dismissed as a hoax and it has been suspected that the Pereira family may have perpetrated the hoax for financial gain.

The Excavation

Disturbed by the ghostly face, the Pereira family wanted the image destroyed, but word had made it to the mayor, who forbade its destruction so that it may be cut out and removed for study. The Pereira family requested the help of the City Council, which decided that the floor beneath the Pereira’s kitchen should be excavated, to see if they could find the source of the phenomenon. Shockingly, numerous skeletons, some of them headless, were found buried about eight to nine feet below the Pereira’s kitchen. Tests showed that some of the bones dated back as far as the 13th century.
The skeletons were removed from the excavation and given a proper burial at a Catholic cemetery. The hole was filled, and once again, the floor re-cemented. However, within a couple of weeks, a new face appeared on the cement floor. The excavation seemed to have intensified the activity of the phenomenon. Now, different faces would appear, only to fade out and be replaced by a distinctly different face, sometimes in the period of just a few hours. At times, even women and children appeared among the images of the faces.

Witnesses and Investigations

The Pereira house, becoming increasingly famous, was attracting visitors by the hundreds. Witnesses to the phenomenon included students, researchers, priests, police officers, journalists, and even the renowned German paranormal investigator Dr. Hans Bender, who called it the most important case of paranormal phenomenon of the century (20th).
As part of an investigation, samples of the cement slab were taken to the Instituto de Ceramica y Vidrio or ICV (Institute of Ceramics and Glass) for analysis, which found no traces of paint or dyes in the sample. In another experiment, the kitchen floor was photographed in sections, and then covered with a jacket, which was sealed at the edges. The room and windows were sealed with wax, to prevent tampering. All of this took place in front of a German television crew, and in the presence of the town’s notary. The kitchen went untouched for 3 months. Upon removal of the jacket and wax, it was apparent that the faces had evolved and moved about the floor.

The Thoughtographic Hypothesis

Some researchers hypothesized that the images were thoughtographic in nature, meaning that the faces were a psychokinetic phenomenon where a human agent was either consciously, or subconsciously, projecting the images onto the floor. In this case the human agent was Maria Pereira. In support of this hypothesis, it was observed that the facial expressions of the images would often mimic Maria’s emotions, and that the activity would subside when Maria was away from the house.

The Phenomenon Continues


 María's home was advertised to the tourists as La Casa de las Caras (The House of the Faces). By Easter of 1972 hundreds of people were flocking to the house to see the faces. For the next 30 years the Pereira family claimed that faces continued to appear, both male and female and of different shapes, sizes and expressions. Maria Gomez Pereira passed away on the morning of February 3rd, 2004. Hundreds came from all over Spain to pay their final respects. Some thought that the phenomenon would cease with her passing, however, investigations after her death showed that the faces were still evolving and moving about the floor. At last word, the phenomenon still continues to this day

KRYPTOS

INTRODUCTION
Kryptos is a sculpture by the American artist Jim Sanborn that is
located on the grounds of the Central Intelligence Agency (CIA) in Langley, Virginia. Since its dedication on November 3, 1990, there has been much speculation about the meaning of the four encrypted messages it bears. Of the four messages, the first three have been solved, while the fourth message remains as one of the most famous unsolved codes in the world. The sculpture continues to be of interest to cryptoanalysts, both amateur and professional, who are attempting to decipher the fourth section. The artist has so far given two clues to this section.
The main part of the sculpture is located in the northwest corner of the New Headquarters Building courtyard, outside of the Agency's cafeteria.
The sculpture comprises four large copper plates with other elements consisting of water, wood, plants, red and green granite, white quartz, and petrified wood.
The name Kryptos comes from the ancient Greek word for "hidden", and the theme of the sculpture is "Intelligence Gathering".
The most prominent feature is a large vertical S-shaped copper screen resembling a scroll or a piece of paper emerging from a computer printer, half of which consists of encrypted text.
The characters are all found within the 26 letters of the Latin alphabet, along with question marks, and are cut out of the copper plates.
The main sculpture contains four separate enigmatic messages, three of which have been deciphered. In addition to the main part of the sculpture, Jim Sanborn also placed other pieces of art at the CIA grounds, such as several large granite slabs with sandwiched copper sheets outside the entrance to the New Headquarters Building. Several Morse code messages are found on these copper sheets, and one of the stone slabs has an engraving of a compass rose pointing to a lodestone.
Other elements of Sanborn's installation include a landscaped garden area, a fish pond with opposing wooden benches, a reflecting pool, and other pieces of stone including a triangle shaped black stone slab.
The cost of the sculpture in 1988 was 250,000 US dollar worth $501,000 in 2016 US dollars.
ENCRYPTED MESSAGES
The cipher text on the left-hand side of the sculpture (as seen from the courtyard) of the main sculpture contains 869 characters in total: 865 letters and 4 question marks.
In April 2006, however, Sanborn released information stating that a letter was omitted from this side of Kryptos "for aesthetic reasons, to keep the sculpture visually balanced".
There are also three misspelled words in the plaintext of the deciphered first three parts, which Sanborn has said was intentional, and three letters (YAR) near the beginning of the bottom half of the left side are the only characters on the sculpture in superscript.
The right-hand side of the sculpture comprises a keyed Veneer encryption tableau, consisting of 867 letters.
One of the lines of the Veneer tableau has an extra character (L), which Sanborn has indicated was accidental.
Sanborn worked with a retiring CIA employee named Ed Scheidt, Chairman of the CIA Office of Communications, to come up with the cryptographic systems used on the sculpture.
Sanborn has revealed that the sculpture contains a riddle within a riddle, which will be solvable only after the four encrypted passages have been deciphered.
He has given conflicting information about the sculpture's answer, saying at one time that he gave the complete solution to the then-CIA director William Webster during the dedication ceremony; but later, he also said that he had not given Webster the entire solution. He did, however, confirm that within the part of the plaintext of the second message which reads "Who knows the exact location? Only WW.", "WW" was intended to refer to William Webster.
Sanborn also confirmed that should he die before the entire sculpture becomes deciphered, there will be someone able to confirm the solution.
SOLVERS
The first person to announce publicly that he had solved the first three sections was Jim Gillogly, a computer scientist from southern California, who deciphered these sections using a computer, and revealed his solutions in 1999.
After Gillogly's announcement, the CIA revealed that their analyst David Stein also had solved the same sections in 1998 using pencil and paper techniques, although at the time of his solution the information was only disseminated within the intelligence community and no public announcement was made until July 1999.
The NSA also claimed that some of their employees had solved the same three parts, but would not reveal names or dates until March 2000, when it was learned that an NSA team led by Ken Miller, along with Dennis McDaniels and two other unnamed individuals, had solved parts 1–3 in late 1992.
In 2013, in response to a Freedom of Information Act request by Elonka Dunin, the NSA released documents which show the NSA became involved in attempts to solve the Kryptos puzzle in 1992, following a challenge by Bill Studeman, then Deputy Director of the CIA. The documents show that by June 1993, a small group of NSA cryptoanalysts had succeeded in solving the first three parts of the sculpture.
The above attempts to solve Kryptos found that part two ended with WESTIDBYROWS, but in 2005, Nicole Friedrich, a computer scientist from VancouverCanada, determined that another possible plaintext was: WESTPLAYERTWO.
In 2006, Sanborn announced that he had made an error in part 2, and confirmed that the last part of the plaintext was WESTXLAYERTWO, and not WESTIDBYROWS.
SOLUTIONS
The following are the solutions of parts 1–3 of the sculpture.
Misspellings present in the text are included verbatim.
Kryptos sections one ("K1") and two ("K2")'s ciphers are polyalphabetic substitution ciphers using a Vigenère tableau similar to the tableau on the right-hand side of the sculpture.
Part three ("K3") is a transposition cipher.
Part four ("K4") uses a so far unknown method.
Solution of passage 1
Method: Vigenère
Keywords: Kryptos, Palimpsest
BETWEEN SUBTLE SHADING AND THE ABSENCE OF LIGHT LIES THE NUANCE OF IQLUSION
Solution of passage 2
Method: Vigenère
Keywords: Kryptos, Abscissa
IT WAS TOTALLY INVISIBLE HOWS THAT POSSIBLE? THEY USED THE EARTHS MAGNETIC FIELD X THE INFORMATION WAS GATHERED AND TRANSMITTED UNDERGRUUND TO AN UNKNOWN LOCATION X DOES LANGLEY KNOW ABOUT THIS? THEY SHOULD ITS BURIED OUT THERE SOMEWHERE X WHO KNOWS THE EXACT LOCATION? ONLY WW THIS WAS HIS LAST MESSAGE X THIRTY-EIGHT DEGREES FIFTY-SEVEN MINUTES SIX POINT FIVE SECONDS NORTH SEVENTY-SEVEN DEGREES EIGHT MINUTES FORTY-FOUR SECONDS WEST X LAYER TWO
On April 19, 2006, Sanborn contacted an online community dedicated to the Kryptos puzzle to inform them that the accepted solution to part 2 was incorrect. He said that he made an error in the sculpture by omitting an "X" used to separate sentences, for aesthetic reasons, and that the deciphered text that ended "...FOUR SECONDS WEST ID BY ROWS" should actually be "...FOUR SECONDS WEST X LAYER TWO”. Note: The coordinates mentioned in the plaintext: 38°576.5N 77°844W for a point that is approximately 150 feet southeast of the sculpture.
Solution of passage 3
Method: Transposition
SLOWLY DESPARATLY SLOWLY THE REMAINS OF PASSAGE DEBRIS THAT ENCUMBERED THE LOWER PART OF THE DOORWAY WAS REMOVED WITH TREMBLING HANDS I MADE A TINY BREACH IN THE UPPER LEFT HAND CORNER AND THEN WIDENING THE HOLE A LITTLE I INSERTED THE CANDLE AND PEERED IN THE HOT AIR ESCAPING FROM THE CHAMBER CAUSED THE FLAME TO FLICKER BUT PRESENTLY DETAILS OF THE ROOM WITHIN EMERGED FROM THE MIST X CAN YOU SEE ANYTHING Q?
This is a paraphrased quotation from Howard Carter's account of the opening of the tomb of Tutankhamen on November 26, 1922, as described in his 1923 book The Tomb of Tutankhamen. The question with which it ends is asked by Lord Carnarvon, to which Carter (in the book) famously replied "wonderful things". In the November 26, 1922 field notes, however, his reply was, "Yes, it is wonderful”.

Solution of passage 4
Part 4 has so far not been publicly solved.
CLUES GIVEN
When commenting in 2006 about his error in section 2, Sanborn said that the answers to the first three sections contain clues to the fourth section. In November 2010, Sanborn released a clue, publicly stating that "NYPVTT", the 64th-69th letters in part four, become "BERLIN" after decryption.
Sanborn gave The New York Times another clue in November 2014: the letters "MZFPK", the 70th-74th letters in part four, become "CLOCK" after decryption.  This may be a direct reference to the Berlin Clock.
Sanborn further stated that in order to solve section 4, "You'd better delve into that particular clock," but added, "There are several really interesting clocks in Berlin”. 
Sanborn worked with a retiring CIA employee named Ed Scheidt, Chairman of the CIA Office of Communications, to come up with the cryptographic systems used on the sculpture.
Sanborn has revealed that the sculpture contains a riddle within a riddle, which will be solvable only after the four encrypted passages have been deciphered.
He has given conflicting information about the sculpture's answer, saying at one time that he gave the complete solution to the then-CIA director William Webster during the dedication ceremony; but later, he also said that he had not given Webster the entire solution. He did, however, confirm that within the part of the plaintext of the second message which reads "Who knows the exact location? Only WW.", "WW" was intended to refer to William Webster.
Sanborn also confirmed that should he die before the entire sculpture becomes deciphered, there will be someone able to confirm the solution.
SOLVERS
The first person to announce publicly that he had solved the first three sections was Jim Gillogly, a computer scientist from southern California, who deciphered these sections using a computer, and revealed his solutions in 1999.
After Gillogly's announcement, the CIA revealed that their analyst David Stein also had solved the same sections in 1998 using pencil and paper techniques, although at the time of his solution the information was only disseminated within the intelligence community and no public announcement was made until July 1999.
The NSA also claimed that some of their employees had solved the same three parts, but would not reveal names or dates until March 2000, when it was learned that an NSA team led by Ken Miller, along with Dennis McDaniels and two other unnamed individuals, had solved parts 1–3 in late 1992.
In 2013, in response to a Freedom of Information Act request by Elonka Dunin, the NSA released documents which show the NSA became involved in attempts to solve the Kryptos puzzle in 1992, following a challenge by Bill Studeman, then Deputy Director of the CIA. The documents show that by June 1993, a small group of NSA cryptoanalysts had succeeded in solving the first three parts of the sculpture.
The above attempts to solve Kryptos found that part two ended with WESTIDBYROWS, but in 2005, Nicole Friedrich, a computer scientist from VancouverCanada, determined that another possible plaintext was: WESTPLAYERTWO.
In 2006, Sanborn announced that he had made an error in part 2, and confirmed that the last part of the plaintext was WESTXLAYERTWO, and not WESTIDBYROWS.
SOLUTIONS
The following are the solutions of parts 1–3 of the sculpture.
Misspellings present in the text are included verbatim.
Kryptos sections one ("K1") and two ("K2")'s ciphers are polyalphabetic substitution ciphers using a Vigenère tableau similar to the tableau on the right-hand side of the sculpture.
Part three ("K3") is a transposition cipher.
Part four ("K4") uses a so far unknown method.
Solution of passage 1
Method: Vigenère
Keywords: Kryptos, Palimpsest
BETWEEN SUBTLE SHADING AND THE ABSENCE OF LIGHT LIES THE NUANCE OF IQLUSION
Solution of passage 2
Method: Vigenère
Keywords: Kryptos, Abscissa
IT WAS TOTALLY INVISIBLE HOWS THAT POSSIBLE? THEY USED THE EARTHS MAGNETIC FIELD X THE INFORMATION WAS GATHERED AND TRANSMITTED UNDERGRUUND TO AN UNKNOWN LOCATION X DOES LANGLEY KNOW ABOUT THIS? THEY SHOULD ITS BURIED OUT THERE SOMEWHERE X WHO KNOWS THE EXACT LOCATION? ONLY WW THIS WAS HIS LAST MESSAGE X THIRTY-EIGHT DEGREES FIFTY-SEVEN MINUTES SIX POINT FIVE SECONDS NORTH SEVENTY-SEVEN DEGREES EIGHT MINUTES FORTY-FOUR SECONDS WEST X LAYER TWO
On April 19, 2006, Sanborn contacted an online community dedicated to the Kryptos puzzle to inform them that the accepted solution to part 2 was incorrect. He said that he made an error in the sculpture by omitting an "X" used to separate sentences, for aesthetic reasons, and that the deciphered text that ended "...FOUR SECONDS WEST ID BY ROWS" should actually be "...FOUR SECONDS WEST X LAYER TWO”. Note: The coordinates mentioned in the plaintext: 38°576.5N 77°844W for a point that is approximately 150 feet southeast of the sculpture.
Solution of passage 3
Method: Transposition
SLOWLY DESPARATLY SLOWLY THE REMAINS OF PASSAGE DEBRIS THAT ENCUMBERED THE LOWER PART OF THE DOORWAY WAS REMOVED WITH TREMBLING HANDS I MADE A TINY BREACH IN THE UPPER LEFT HAND CORNER AND THEN WIDENING THE HOLE A LITTLE I INSERTED THE CANDLE AND PEERED IN THE HOT AIR ESCAPING FROM THE CHAMBER CAUSED THE FLAME TO FLICKER BUT PRESENTLY DETAILS OF THE ROOM WITHIN EMERGED FROM THE MIST X CAN YOU SEE ANYTHING Q?
This is a paraphrased quotation from Howard Carter's account of the opening of the tomb of Tutankhamen on November 26, 1922, as described in his 1923 book The Tomb of Tutankhamen. The question with which it ends is asked by Lord Carnarvon, to which Carter (in the book) famously replied "wonderful things". In the November 26, 1922 field notes, however, his reply was, "Yes, it is wonderful”.

Solution of passage 4



Part 4 has so far not been publicly solved.
CLUES GIVEN
When commenting in 2006 about his error in section 2, Sanborn said that the answers to the first three sections contain clues to the fourth section. In November 2010, Sanborn released a clue, publicly stating that "NYPVTT", the 64th-69th letters in part four, become "BERLIN" after decryption.
Sanborn gave The New York Times another clue in November 2014: the letters "MZFPK", the 70th-74th letters in part four, become "CLOCK" after decryption.  This may be a direct reference to the Berlin Clock.

Sanborn further stated that in order to solve section 4, "You'd better delve into that particular clock," but added, "There are several really interesting clocks in Berlin”.