可疑的

This paper analyzed data from multiple sources and different structures, concluded three types of info: Login info, Event info, and Packet data info, then created the formation for every type of data; In order to combine future possible new data, IDS using profile and formation string together, create and practice data formation standard algorithm; Because in the collected data, there is info that is redundant or has minor effect on the IDS, this paper discussed the rules of redundant data differentiating and safe data differentiating, Then create data filter rule base; Data collecting system uses distributivity design, collecting module like a black box. we can get data which was filterd and had standard formation, if we created a new model string for new data source. Module work individually; filter data right away at the collecting node.

本文分析了多种来源的、不同结构的数据，将其总结成登录信息、事件信息和网络数据包信息三种类型，并为每种类型的数据设计了固定的格式；为了与将来可能出现的新型数据兼容，采用了配置文件与模式字符串相结合的方法，设计并实现了数据格式标准化算法；由于收集到的数据中存在冗余的信息和对入侵检测影响不大的信息，本文分别讨论了冗余数据辨别规则和安全数据辨别规则，并建立起数据过滤规则库；数据收集系统采用分布式设计，收集器以黑盒形式提供，对新的数据源只需设计一个新的模式字符串，即可得到过滤后的、具有标准格式的数据，各收集器间独立工作；在收集点即对数据进行过滤，只向分析中心报告可疑数据，以减少传输和存储的数据量，降低对网络性能的影响。

At last, the classification method is discussed in accidence and a classification method based on decision-tree is presented. In the method, the characteristic parameters of cells are extracted through different methods such as the morphologic, chroma and texture of cells, and then normal cells are eliminated gradually by the means which screens out normal cells from roughly to accurately, and in the end suspicious tumor cells are sorted according to their dubiety.

最后，对细胞的分类方法进行了深入的研究，提出了一种基于判别树的层次分类方法，采用细胞的形态学、色度学和纹理等不同方法获取的细胞特征参数，采取"由粗到精、逐步筛选"的策略逐步剔除正常细胞，并根据可疑程度对疑似肿瘤细胞排序，辅助病理专家的诊断工作。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

Cruelty of disposition; malice and ill-nature; that most anti-social and odious of all passions, envy; dissimulation and insincerity, irascibility on insufficient cause, and resentment disproportioned to the provocation; the love of domineering over others; the desire to engross more than one's share of advantages; the pride which derives gratification from the abasement of others; the egotism which thinks self and its concerns more important than everything else, and decides all doubtful questions in its own favour;—these are moral vices, and constitute a bad and odious moral character: unlike the self-regarding faults previously mentioned, which are not properly immoralities, and to whatever pitch they may be carried, do not constitute wickedness.

性情的残忍、狠毒和乖张——这些是所有各种情绪中最反社会性的和最惹人憎恶的东西——妒忌，作伪和不诚实，无充足原因而易暴怒，不称于刺激的愤慨，好压在他人头上，多占分外便宜的欲望，借压低他人来满足的自傲，以"我"及"我"所关的东西为重于一切、并专从对己有利的打算来决定一切可疑问题的唯我主义——所有这一切乃是道德上的邪恶，构成了一个恶劣而令人憎恶的道德性格。这与前节所举只关己身的那些缺点是不一样的。那些缺点正当说来不能算是不道德，不论达到怎样高度也不会构成毒恶。

The 1950s were the era of McCarthyism: it was a common fear of US writers and artists that to be viewed as a smart aleck might be a preliminary to being attacked as a homosexual and thence, by a curious progression, as a communist -- that is, to be an intellectual implied that one was suspicious and unreliable.

的《雄辩的大学问家》（The Silver Eggheads，1958FSF；1961）呈现了一个可怕的设想，一个只有机器人才能创新的有趣的反智力社会。20世纪50年代是麦卡锡主义时期：美国的作家和艺术家都害怕被看作是个聪明人，因为这可能意味着会被当作同性恋而被攻击，再经过某种莫名其妙的过程，被看作共产党员——这就是说，如果是个知识分子，就意味着这个人是可疑而不可信任的。

I always hope that my camera and me will become simpler and not carry any sense of suffering. In this age, there are no longer any pedestalled icons. The so-called realism of photography becomes suspicious when contrasted with this unreal world. That means, no matter how pretentiously I view my own photography, in the end my pictures are just little fables, or parts of an inexperienced performance.

常希望我自己和我的照相机都更加纯真一些，不必承载什么苦难的意义，这个时代已经不再有高高在上的圣像了，所谓摄影的真实存在感在这个不真实的世界的反衬下，早就变得面目可疑了，所以，无论我怎么自负地自认为师出有名，我的照片最后也只能成为一个小小的寓言，或者说是一场草台班子的演出而已，仅止于此！

In this prospective study by Rodrigo Hasbun, MD, and colleagues from Yale University, 235 of 301 patients (78%) with suspected meningitis had head CT before LP was done, two hours later on average.

在这次由来自Yale大学的Rodrigo Hasbun医师，和他的同事们设计的前瞻性研究中，301名的可疑脑膜炎患者中的235名(占总数的78%)，在进行腰椎穿刺的平均两个小时之前，进行了头部CT的检查。

Sturdy drovers stopped to drink at the little bar; well-to-do farmers spent their evenings and talked politics in the low, wainscoted parlour, while their horses munched some suspicious mixture of moldy hay and tolerable beans in the tumble-down stables.

身强力壮的、赶着牲口上市的买卖人都到小酒吧来歇脚喝酒；富裕的农民在低低的镶着护壁板的客厅里消磨黄昏、漫谈政治，而他们的马儿在歪歪斜斜的马棚里咀嚼一些用发霉的稻草拌和着勉强可吃的豆子的可疑饲料。

The street doors of the houses are still closed, like stingy purses, and the night watchmen sporting shiny new gold braid on their caps look suspiciously at the traveler as he goes by on his way to the station with his knapsack on his back and his unworried, almost slouching walk.

街边房子的门仍然关闭着，就像干瘪的钱包和晚上的看守人戴在帽子下面的的发亮的金黄色的鞭子一样，看起来很可疑。旅客走在往站台的路上，背着他的背包，他毫不担心，没精打采的走着。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。