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The problem has been studied from two sides, firstly, from the viewpoint of applicability, based on the development strategic objectives of the oil company, with the aim to unify the exploration and extraction decisions of the resources in an integrated framework, and integrate the macro economic and technical objectives with micro economic and technical models of an oil well, an integrated non-linear dynamic optimal control model has been constructed, the objective is the benefit maximum of the exploration and extraction of the resources, and the optimalstrategies are obtained by changing the problem into a non-linear mathematical programming problem, on the other hand, from the more macro level, based on the analysis of the characteristics of the exploration and extraction activities of oil and gas resources, a conclusion is easily deduced that the procedure is full of randomicity, then discovering procedure of oil deposit is proved to be a Poisson process, and the reserves process is a supermartingale process, so the model of exploration discovery rate and the reserves model could be constructed.

其次从相对更宏观的层次上，通过对油气资源勘探与开发的特点分析，认为具有很强的随机性，证明了勘探活动发现油气藏的过程为一泊松过程，所发现的油气藏储量为一上鞅过程，在此基础上，建立了油气藏勘探发现率模型及储量模型，在油气价格服从几何布朗运动条件下，以油气开采收益最大化为目标，建立了一个油气资源勘探与开发的随机最优控制模型，采用动态规划方法得到了值函数的HJB方程，并针对方程的特点，以及方程及其变量所对应的经济学意义，对最优策略的求解进行了一些讨论。

So when we felt another kind of tetra-dimensional, extreme, music-like art made up of colors and lines in Malevich and Tatlin's experiment in the early of last century, people had to get used to the visional format from Kandinsky, Pollock, Mondrian and Roscoe. The brand-new artistic experiment is further rooted into experience of our religion, music, philosophy, life and other staffs not only from format to content, but also from theory to techniques. And the traditional plane paintings are used to annotate the art meaning of non-representation. But Chinese are unwilling. It is only the format product of powerful culture in expanding, rather that there are lots of differences between the western abstract and oriental "image".

所以当我们从上个世纪初在马列维奇、塔特林的实验中，体验到一种被称为四度的、极致的、音乐似的、或者说将色彩和线编制成为另一种艺术自由的端倪时，人们就不得不习惯由康定斯基、波洛克、蒙德里安和罗斯科所带给我们的视觉图式，它们从形式到内容、从理论到技巧，无不变本加厉地把这种全新的艺术实验根植于我们对宗教、音乐、哲学、生活以及诸多问题的体验中，并用传统的二维平面绘画来诠释出非具象的艺术意义，不过这些对中国人来说，很可能是不情愿的，它只是强势文化在扩张中的样式产物，更何况这些西方式的抽象与东方式的"意象"仍然有着极大的差异。

After Jacob Ho refused to fellowship with the brothers, and while I was waiting for an opportunity to coordinate with the brothers holding the training in regards to cleaning the meeting hall and other services, I received an unexpected phone call from Taipei. Tuesday, September 22, 1987, from the telephone answering machine, I received a message from brother Witness Lee to call him in Taipei at 6:00 pm. At the time I had a feeling that the storms were gathering.

当JH弟兄拒绝与弟兄们交通，而我还在等待机会能和带领叩门训练的弟兄们配搭一同来解决会所整洁问题与其他服事的安排那一段期间，我接到了一通意想不到来自台北的电话， 1987年9月22日周二从电话答录机的留言的那一端是来自李常受弟兄，他要我在当天6pm打电话给他，那时我有一个感觉，风暴正在形成中！

At a recent conference, Traditional Values in a Modern Chinese Context: An Interdisciplinary Approach, held at Renmin University of China, we tried to break away from this pattern, with academics working on Confucian values from different displicines seeing what we could learn from each other.

最近，在中国人民大学召开的"现代中国语境中的传统价值观：一种跨学科研究方法"会议中，我们试图打破这种限制，来自各学科的学者们聚集在儒家价值观这面大旗帜下，互相学习。

From idautils import * funclist=[0x004011F2, 0x00401200, 0x00401206] /*add all the other addresses here*//*在这里加上所有函数的起始地址*/ ea=ScreenEA for i in funclist: ea=i add_bpt(ea, 1, 4) bp=bpt_t get_bpt bp.flags ^=BPT_BRK bp.flags|=BPT_TRACE 下面给出我的一个实现: from idaapi import * from idautils import * funclist = [0x004011F2, 0x00401200, 0x00401206] ea=ScreenEA for line in funclist: ea = line add_bpt(ea,1,4) SetBptAttr For those cases where it's necessary to mark absolutely every function as a tracepoint, the IDA plug-in can be automated to find every function reference instead of doing it manually.

有了上面这个脚本之后，我们实际上就已经可以在每个函数的起始位置上都下一个 tracepoint 了。不过手工把每个函数的起始地址都写入上面那张表里还是比较枯燥的一个活，好在 IDA 插件里本身就提供一个能遍历所有函数的功能。我们完全可以编写一个能自动在每个函数的起始位置上都下上一个 tracepoint 的脚本出来，比如下面给出的这个脚本。

The croaked Black Metal narrative is carried on the shields of the twin guitar attack, I抎 point to early SETH for how they sound, there is the warmth in tone on one of the guitars, something that the French band employed, however the other guitar is more incisive and has that touch of ice. There is an audible bass which provides some depth for the trebly guitars to race above and there is some fine clatter-tat-tat blasting from the skins department. Tracks like 揊rom My Throne OF Winter?are a cavalry charge into the soft flank of the enemy, the pace letting up from time to time as they breach a line of defence. All of the Metal tracks on the album benefit from this mix of breakneck speed and more mid paced sections. The production is typically lo-fi but as usual that is part of the appeal, there is no point recounting tales of past Pagan glories if you have a crisp digital production to spoil the ambience.The 揚rologue?and 揈pilogue?

而最吸引耳朵的还是尖叫部分，而且我敢打赌你以前从未在碾核音乐里听过这种嗓音，但我很难用合适的语言给你形容出来那究竟是怎样一种动静，粗略一点说它就像是受到惊吓的女人所发出的尖利声音，这样一来可能会让大家把他们和INTESTINAL DISGORGE混淆，那么再补充一句，主唱发出的声音并不是一个单音，那样未免就太枯燥无味了，而是有着跳跃性的节奏，我的能力只能形容到此，具体还要大家自己去体会了，而最令人不可思议的是主唱一人包揽了这两种唱腔，而这两种嗓音之间就像是天与地的差别，如果可能的话我还真想研究一下这位仁兄嗓子的构造。

From 1976 to 1985,he stuck to Dialectical Materialism as a guideline,reflected on the literary and artistic characteristics of the "Art in its special way grasp the world "," Art has its own independent special targets " and other important proposition to do an in-depth exposition. He also made a brilliant insights about artistic typicalness; From 1985 to 1992, he gradually realized Epistemological Literary Theory couldn't explain all the literary phenomenon, so instead of Human Ontology of Literary Theory,on departure from the Human Ontology to interpret the literary phenomenon,str...essing that " Aesthetic is the life of one of the leading activities "," Art is essentially aesthetic ";Before and after 1992, he re-converted research perspective, explaining aesthetic and artistic on the basis of theValue of Philosophy, saying that the beauty is a form of value.

他从1976年到1985年，以辩证唯物主义认识论为指针，反思文学艺术的特性，对"艺术以其特殊的方式掌握世界"、"艺术有自己独立的特殊对象"等重要命题做了深入的阐发，并就艺术典型提出了精辟的见解；从1985年到1992年，他逐渐意识到认识论文艺学无法解释一切文艺现象，于是转而研究人类本体论文艺学，从人类本体论哲学出发去解释文艺现象，强调"审美是人的生命活动主要方式之一"，"艺术在本质上是审美的"；1992年前后，他再度转换研究视角，从价值论哲学出发去解释审美和艺术，认为美就是一种价值形态。

Not from the meter of water or music But from unnamed rhythm and gloom A voice more tempting than mystery You don't need to know who you are Fantasy won't find you in a crowded bar with that possibility, still it hasn't snowed Nobody knows the love between peach trees Sparrows fly from the courtyard wall After the season of untouched flowers Everyone passing will feel differently How do people love each other? Sometimes they're more distant than trees And still it hasn't snowed Although immersed in the leaden sky Fantasy's front holds passion down Perhaps the low clouds of unfallen snow Never know The feeling of letting go Perhaps you might not say so then But still it hasn't snowed

不是在水或音乐的节拍里有时在一阵无名的节奏和忧郁的情调中有一种声音比诱惑更神秘不一定要知道你是谁幻想在人丛中不会找到你也许因此，雪一直没有飘下来果树对于果树不知是怎么相爱的围墙上的麻雀飞去又回来在开花的季节过后每一个走过园子的人都会有不同的感觉人和人是怎么相爱的有时隔着比树更远的距离雪一直没有飘下来尽管在许多瞬间沉入了铅灰色的天空幻想的风使激情发冷也许那从未降雪的云层很低他无法知道化成水流的感觉也许那时你已不再那么说但，雪一直没有飘下来

The results were as follows:The unit-roots characters (weight, length etc.) and 15N absorption decreased progressively downward. 15N absorbed by any unit roots could be transported from root to tiller and from tiller to tiller, but the transporting ratio was different.The pattern was as follows: when 15N was offered to total roots of plant or only to primary roots, it was transported to main stem and then decreassingly to tillers from lower unit to upper one, when 15N was offered to n unit-root, it was transported to n unit tillers, then to n + 2 or n-2 unit tillers , followed by n + 1 or n -1 unit tillers , and finally to other unfeed roots.

各单位根吸收(15)~N后，蘖根之间，蘖蘖之间皆可互相运转，但其运转比例不同，其功能模式是：(15)~N喂全株根或专喂初生根，则先供给主茎，其次是分蘖，而且随蘖位升高而递减；喂n单位根，则先供给n单位本身，其次是n+2或n-2单位的蘖，然后是n+1或n-1单位的蘖，最后是未喂(15)~N的根系。

Puzzle wells often buried ceramic pots from the river water to the bottom, people from the bottom and then assemble the shaft, shaft above the building on the Jingtai, so that people can Jingtai above, or ox-drawn water wagon, or hand carrying water from wells and other methods get irrigated, but that's way too low efficiency!

砌井的时候是从河底埋瓷罐子引水到井底，人们再从井底砌上井筒，井筒的上面筑上井台，这样人们就可以在井台上面，或用牛拉水车，或用手从井中提水及其他办法弄水浇地了，不过这办法效率太低了！

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。