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Chinese records of comets are the most extensive and accurate in existence from the ancient and medieval periods, and stretch back across three millennia.  Records exist at least as far back as 613 BC, and records may have been kept for many centuries before this.  There are continuous records all the way through to the nineteenth century, using substantially consistent methods throughout.  Chinese data accuracy is unsurpassed in the ancient world and was not overtaken by Western accuracy until the fifteenth century or, in some respects, not until the twentieth century.

Comets were observed in great detail because of their astrological significance. However, these observations are now of great use to modern astronomers.  Their accuracy is sufficient to allow the calculation of orbital elements, and modern astronomers have done this for many comets.  Most notably, ancient orbits of Halley's Comet have been determined using Chinese records, a feat not possible solely from modern data due to a close approach of the comet to Earth in the ninth century.  Such close approaches cause comet orbits to change abruptly, and ancient changes of this sort cannot be accurately modelled from the comet's present-day orbital data.

Chinese records

Ancient Chinese records of comet observations are the most extensive historical records in existence.  They are far more complete than European observations.  The earliest confirmed Chinese comet observation is from 613 BC, but there is also a possible sighting of Halley's Comet in 1059 BC.  However, this may not be an actual sighting, but the result of later back calculation.

Early records call comets beixing (or boxing: , "bushy star" or "sparkling star" according to Yeomans et al.).  Later on, a distinction is made between beixing and huixing (, "broom star"), that is, comets without, and with a tail respectively.  The broomstick here is a metaphor for the tail and the broomhead the head of the comet.  Chinese astronomers were the first to observe that comet tails point away from the sun.  They knew this by at least 635 AD, many centuries before the phenomenon was observed in the West.  Other descriptive Chinese names for comet include saoxing (掃星, "sweeping star"), tianchan (天攙, "heavenly intermingler"), fengxing (篷星, "sailing star"), changxing (長星, "long star"), and zhuxing (燭星, "candle-flame star").

The Chinese records are not only the most extensive from ancient times, they are also the most accurate, often to within half a degree of right ascension.  Western measurements did not overtake them for accuracy until the fifteenth century: in 1456 AD Paolo Toscanelli tracked the progress of Halley's Comet to within a fraction of a degree.

Finding the time of a Chinese observation is a little more problematic.  This can be very important for fast moving objects like comets.  However, the dates are recorded, and the time can be estimated to within one or two hours by considering when the Chinese observers would have had good viewing conditions.  Comets that actually have a tail can be described as beixing when they are in opposition and the tail is not visible, giving a further clue.

Chinese records of comet brightness are superior to Western observations to an even later date.  The West did not overtake Chinese astronomers in this respect until the twentieth century, at least in the matter of diligent recording of brightnesses.

List of records
The following documents contain substantial comet observations.  Many other local documents have useful information and have been incorporated into various compilations.

Early sources
 Spring and Autumn Annals, annals of the State of Lu, traditionally attributed to Confucius.
 Records of the Grand Historian, the first comprehensive history of China, by Sima Qian.
 Book of Wei, official history of the Wei dynasty.  The book contains only summary information from the now lost official astronomer's records, but nevertheless has reasonably accurate information.

Compilations
An astronomical text recovered from Tomb no.3 in Mawangdui contains images and descriptions of 29 different comets. The descriptions often include the comet's name, notes about its apparition, and its associated portent, usually military, but lack detailed dates of the comets' sightings. This text can be solidly dated as being prior to 168 BC, the date assigned to the tomb. It may be associated with a similar astronomical text from the same tomb, which details planetary motions for the seventy years ending 177 BC.

Wenxian Tongkao, a thirteenth century compilation by Ma Duanlin, includes a list of comets up to 1222 AD.  Various European authors used this list as a basis for their own lists starting with Antoine Gaubil who translated it from the Chinese and later extended the list to 1644 AD.  The most complete European list was published by John Williams (1797–1874) in 1871.  Williams' list contains 372 comets from 613 BC to 1621 AD.  A Chinese compilation published in 1988, A Comprehensive Collection of Ancient Chinese Astronomical Records (Zhongguo gudai tianxiang jilu zongji), has over a thousand comet observations.

Importance to modern astronomers
The Chinese records have some importance to modern science because they allow astronomers to deduce the past orbits and brightnesses of comets.  This is important because comet orbits are not always entirely regular.  They can be changed by gravitational encounters with the planets.  Without ancient records, such past changes would be very difficult to determine.  A feature of the Chinese records that makes them particularly useful for modern scientists and scholars is that there is a high degree of consistency in the methods of observation and recording over a very long period.  Chinese astronomers were still using naked eye observation in 1835, long after the invention of the telescope.

Around forty comets have had their orbits calculated based entirely on ancient Chinese records.  Of the well known comets, besides Halley, Brian G. Marsden suggested, based on Chinese and other ancient observations, that the Great Comet of 1106 was a previous apparition of Comet Ikeya–Seki.  Ikeya–Seki is a member of the Kreutz sungrazer family of comets.  These are thought to all have originated from the break up of a large parent comet.  Several previously unknown members of this group have been found in the Chinese records.

Halley's Comet
Chinese observations of Halley's Comet are of especial importance to astronomers because of the important place this comet had in their growing understanding of them.  The earliest confirmed sighting was in 240 BC (in the Records of the Grand Historian)—with a continuous record after 164 BC.  A comet observed in 467 BC may have been Halley, but there is insufficient information to be sure.  The most accurate records of Halley begin in 12 BC.

In 1843 engineer and sinologist Édouard Biot translated Chinese records of comets.  Astronomer John Russell Hind observed that past apparitions of Halley back to 12 BC in most cases could be matched to these Chinese records.

A computer calculation of the past orbits of Halley using numerical integration could not continue past 837 AD because a very close approach to Earth made calculation of orbits prior to that too inaccurate.  The researchers had started with accurate European measurements from 1759, 1682 and 1607 AD and calculated backwards.  However, no accurate European records exist for 837 AD so the researchers looked to Chinese records.  From these they obtained a good estimate of the perihelion of Halley for that year.  They used that, together with perihelions found from Chinese data for 374 and 141 AD, to provide constraints for their calculation.  They were finally able to calculate the orbits of Halley back to 1404 BC.

Studies of historical changes in brightness of Halley's Comet have also been carried out using ancient Chinese data.  There has been no regular recording of the brightness of Halley in the West prior to the 1910 apparition.  The Chinese records, on the other hand, are almost complete from 12 BC to 1835 AD.

Comets in Chinese astrology
Ancient Chinese astrology set great store by celestial omens and comets were an important omen, always disastrous.  Under the theory of Wu Xing, comets were thought to signify an imbalance of yin and yang.  Chinese emperors employed observers specifically to watch for them.  Some important decisions were made as a result.  For instance, Emperor Ruizong of Tang abdicated after a comet appearance in 712 AD.

Comets were thought to have military significance.  For instance, the breakup of a comet on 25 January 35 AD was interpreted as portending the destruction of Gongsun Shu by Wu Han, general to emperor Guangwu.

References

Bibliography

 Needham, Joseph, Science and Civilisation in China: Volume 3, Mathematics and the Sciences of the Heavens and the Earth, Cambridge University Press, 1959 .

 Stephenson, Richard; Yau, Kevin, "Oriental tales of Halley's Comet", New Scientist, vol. 103, no. 1423, pp. 30–32, 27 September 1984
 Strom, R., "Daytime observations of sungrazing comets in Chinese annals", Astronomy & Astrophysics, vol. 387, no. 2, pp. L17-L20, May 2002.
 Williams, John, Observations of Comets from B.C. 611 to A.D. 1640: Extracted from the Chinese Annals, Strangways and Walden, 1871 .
 Xu, Zhenoao; Pankenier, David W.; Jiang, Yaotiao, East-Asian Archaeoastronomy, CRC Press, 2000 .
 Yeomans, Donald K.; Kiang, Tao, "The long-term motion of comet Halley", Monthly Notices of the Royal Astronomical Society, vol. 197, iss. 3, pp. 633–646, 11 March 1981.

Comets
History of astronomy
History of science and technology in China
Astronomy in China
Observational astronomy


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SPE Young Professionals Share Their Commitment to Sustainability in Video Message
In a video message shared during the recently held annual conference, SPE young professionals addressed the sustainability challenge.
The Future of Oil and Gas Needs New Perspectives on Technology
Former BP CEO John Browne's new book creates links between the engineering principles that brought society where it is today with the principles needed to solve society's most pressing problems—from climate change to privacy and data security.
Cognitive Study of Human Factors for Safe Drilling Operations: Eye-Tracking Technology
Considering most of the rigs deal with human-machine interface systems, the role of human factors is at the heart of any successful operation. Eye-tracking technology can be useful in real-time operation centers where ocular movement data can improve the professionals' performance.
What Does It Take to Have a Career in Process Safety?
Experience working in operating plants at the start of the career can be important to building a successful career in process safety.
An Interview With Entrepreneur Jamie Glas: A Young Petroleum Engineer Who Designs Women's Safetywear
Twenty-something Jaime Glas is not your typical young professional. An accomplished petroleum engineer in her own right, she has boldly ventured into the market of women's fire-retardant clothing, launching her first line of coveralls earlier this year.

redpajama_set_name: RedPajamaCommonCrawl


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Blu-ray: Worth a Look
Sale Price 40
3rd Party 40
Release Date: January 5th, 2010
D. Gray-man: Season One Part One
Review Date January 19th, 2010 by Nate Boss
Worth a Look
Technical Specs: Blu-ray
2 Disc Set
1- BD25, 1- BD50
Region A
Video Resolution/Codec: 1080p/AVC MPEG-4
Length:297
English Descriptive Audio: English DTS-HD Master Audio 5.1
Japanese Dolby Digital Stereo
Subtitles/Captions: English
Special Features: Audio Commentary on Episode 2
Textless Songs
Movie Studio: FUNimation
I find more to enjoy in an anime series when it utilizes real life historical situations and themes, giving audiences a different take on a known subject, like an alternate reality. 'Fullmetal Alchemist' had the entire Nazi/occult connection, which paralleled the entire plot of the first 'Hellboy' movie, while one of my personal anime faves, 'Neon Genesis Evangelion,' had a deep rooted look at Christianity, from Angels to Adam, the cross, rebirth, and the truth behind what makes a soul. Creating a world around something already familiar, even with a heavy twist, is a surefire way to get instant viewer comprehension.
'D. Gray-man' is one such series, with a light take on religion inhabiting the background, in the tale that mixes equal parts collecting (much like Tsubasa: RESERVoir CHRoNiCLE, with various powerful trinkets spread across the world) and a tale of vengeance. Based on the manga drawn and written by Katsura Hoshino, published by Shonen Jump, the anime iteration didn't follow the somewhat traditional twenty two to twenty six episode run, with a total of 103 episodes being split across two seasons (created in just under two years time!). The first thirteen are compiled in this release, under the label 'Season One Part One.'
The plot follows a peculiar young lad named Allen Walker, a novice exorcist with a dark past, as he fights to free the souls of the dead from the evil akuma, who are powered by the sorrow of those they possess. Blessed with the ability to see akuma when they hide among the living, cursed with a pentacle across his face and already whitened hair (hiding his true youthful spirit), and gifted with an anti-akuma weapon forged into his left hand that mutates into varying forms to fit his combat needs, Walker seeks to destroy the Millennium Earl, an evil ancient being who tricks the grieving into creating the akuma for his bidding. After Allen Walker enlists in the Black Order, a group of fellow exorcists, he is sent out into the world with some diverse companions as they search for "Innocence," the power that fuels anti-akuma weaponry when utilized by its "facilitator," which can also instill great power in the evil akuma, evolving them into more dangerous (less pathetic) forms.
'D. Gray-man' gets off to a fast start, with the entire first episode filling the audience in on the strange world with the akuma, and even threw me off, as the very next episode was the one to introduce the supporting cast, rather than those we had just met. The cast is diverse, though pretty damn generic, with the arrogant and brash warrior, the powerful female exorcist and her scientist brother, and a multitude of redshirts ready and waiting to be slaughtered. The villains are out of a 'Final Fantasy' game, with their mindless minions falling en masse, leading up to cataclysmic battles, in addition to their diverse personalities that all seem to be linked to some greater scheme.
The main villain of the program is known instantly, though his powers are yet to be divulged in this first series of episodes, beyond his treachery and ability to create an army of cursed souls. Having such a driving point helped gain some interest for me in the program, as I knew what to build towards, rather than pondering where events and situations would be headed. The akuma are less than enthralling, as they seem to be as dangerous as a rabid cat, and only half as delicious. Even in numbers, they don't amount to squat, faking tension due to the obvious outcome of each encounter. In short, they're about as deadly as each of the weekly monsters in 'Mighty Morphin' Power Rangers,' while the main villain stands by and watches his creations get mowed down from a safe distance.
The thirteen included episodes get a lot done in a short amount of time, with a few introductory episodes making way for two multi-episode arcs that create great conflicts, rather than stale episodic dribble. The first multi-part arc was interesting, though a hair confusing, but I couldn't help but be enthralled when the latter arc focused on an occurrence not too unfamiliar to me, stealing the premise of the underrated 'Groundhog Day.' That story arc was unbelievably fun (for me, at least), with a different explanation of the scenario that fit into the story line (though it was awfully predictable), and had more tense action than any episode before it, as well as a strong message through it all.
This first batch of episodes of 'D. Gray-man' doesn't do much more than introduce viewers to the characters, and the diverse world, so full of strange powers due to the scattered "Innocence," but it is fairly addictive, as I'm already looking forward to April's release of 'Season One Part Two.' Fans of fantasy anime, as well as those interested in mythology, will find something enjoyable with this series. That said, the pace needs to be brought up, as I found far too many lingering shots filling space, as well as far too many characters dropping out of thin air to comprehend and become attached to. With ninety episodes to go, I'm certain all that will change.
The Disc: Vital Stats
'D. Gray-man Season One Part One' comes to Blu-ray by way of FUNimation, with a two disc set in a single case, housed in a slightly oversized (thickness-wise) slipcover. The first disc, a BD50, houses episodes one through nine, while the second contains episodes ten through thirteen, as well as the non-commentary extras. This set is reportedly Region A locked. Each disc has a trailer preceding the main menu, though the top menu will skip each. Each episode contains the opening and closing credits, as well as a preview for the next episode, but each of these segments are slotted into chapters, so they are easily skippable without missing any of the show.
1080p/AVC MPEG-4
English DTS-HD Master Audio 5.1
Audio Commentary on Episode 2
This first volume of 'D. Gray-man' comes to Blu-ray by way of an AVC MPEG-4 encode (1080p, 1.78:1) that hardly had me impressed. While not as problematic as the 'Samurai Champloo' release, this series has a set of issues that was hard to ignore.
From the first introductory theme song, I knew aliasing was going to be a massive issue (while color banding was lightly present). My suspicions were confirmed immediately. This has to be one of the most awkwardly aliased programs I've watched on Blu-ray! Solid lines stairstep often, especially the ones surrounding characters, like their hairlines or jaws. The aliasing issues don't stop there, as there any "camera" pan, inward, or side to side, creates a wavering issue, as lines fluctuate in thickness and straightness, somewhat similar to a heat wave effect. There was also an issue with aliasing that made some outlines seem to move around characters, like they were being highlighted.
Ringing is present, though it's fairly light, while color bleeding is also accounted for (though in many moments, it appears to be an aesthetic choice). Reds ran a bit fuzzy, while most colors had a washed out appearance, probably a matter of intent. Whites were very clean, while blacks were often too light. Artifacting was an off and on issue, in that it was much more difficult to spot (or much less obvious, however you want to look at it) in the episodes on the second disc. Color banding was the same way, in that it was quite egregious on disc one, but was minimal on the second disc. Detail is solid, while grain levels in flashbacks are intact. This program isn't the best looking released on Blu-ray to date, but it is far from the worst.
'D. Gray-man Season One Part One' has two audio options: an English Dolby TrueHD 5.1 track (which is the default mix for the show), or a Japanese Dolby Digital Stereo track (which is mislabeled on the packaging as being a Dolby TrueHD Stereo mix). For the sake of testing the capabilities of the lossless track, and for gauging the difference between the two languages, this review will cover both mixes, with the final score being an average of both.
English Audio: 4.5/5 - Quite possibly the best sounding anime series I've sat down to, this first volume of D. Gray-man has an absolute knockout English track. Dialogue is always clear, never buried under effects or score, with nice, appropriate localization to boot. The rear speakers are constantly active, with light atmosphere in off moments, and wanton action, wind, explosions, and anything else you can think of when a fight breaks out. The track sports fantastic dynamic range, with a beautiful, unbridled high end, and a decent amount of bass that can truly put you in the scene, creating solid tension and occasionally accenting an environment. The score spreads through the room perfectly, and is truly engaging and fun to listen to, as it is both whimsical and destructive. My favorite moment had to be when silence was used rather than noise, as it had such power, and great dramatic effect. This dub receives a superb mix thanks to the hard work of the FUNimation team.
Japanese Audio: 2.5/5 - I understand that the show was created in stereo, but the discrepancy between the package and the menu is too vast to not harp on. The promise of lossless audio, with a chintzy lossy switcheroo? Killer, just killer. There is a significant difference between tracks, with the native language receiving stunted dynamics, which are particularly noticeable in the score, as well as restricted bass levels, and a lack of the fully immersive environment that made the English track a real winner. That said, this is still a decent track for what it is...it just pales in comparison to the competition.
If future releases of 'D. Gray-man' have loaded supplement packages, they will make this release look pathetic in comparison. If they all are as skimpy as this one, that would be, in a word...pitiful.
Audio Commentary - A director and voice actor commentary for episode two appears in the extras tab on disc one, rather than the middle of the episode index (as is the case for some previous FUNimation commentary tracks). This track covers voice work, release strategy, with a few anecdotes. It's basically just another voice-actor commentary, in that it lacks depth and insight, no matter how friendly the banter may be, focusing on each other rather than the actual content that is supposed to be commented on.
Textless Songs (HD, 3 min) - The opening and closing songs, free from credits.
Trailers - Trailers for 'Sands of Destruction,' 'Tower of Druaga,' 'Soul Eater,' 'Spice and Wolf,' 'Dragonaut,' 'Evangelion,' 'Bamboo Blade,' and a short spot for 'D. Gray-Man Season 1 Part 2.' There is also a trailer for 'Samurai Champloo' pre-menu on disc one, and 'Heroic Age' pre-menu on disc two.
'D. Gray-man seems to be an interesting anime series, though this sampling of episodes, which is barely over 10 percent of the series, makes it hard to judge the show in its entirety. There seems to be great promise and some intriguing ideas, but whether or not the show makes something truly amazing, or slightly underwhelming, remains to be seen with future volumes. This Blu-ray has some problematic video, amazing audio (if you're listening the the English dub), and a wimpy set of extras if ever there were one. This one is worth a look, to see if the show hooks you.
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The software allows to obtain qualitative parameters of hardware audio devices and software audio effects which are implemented in VST modules. The hardware audio devices are connected to a personal computer via a sound card. For the communication is used ASIO technology. The application is capable to measure frequency and linear characteristics, distortion parameters such as THD, THD+N, SINAD, WHD, a rate of crosstalk and a signal-to-noise ratio. The implemented analyses consider AES17 standard, which specifies parameters of test signals and parameters of filters that are used for analyses.
The software contains a graphical user interface where a user is able to set appropriate parameters for a measurement. There is an option to select if we want to analyze an external effect or a VST effect. There is an internal signal generator within the application. It is capable to generate harmonic signals such as sin or sweep signals and noise signals – MLS or white noise. For each of the analysis there is an option to select a suitable test signal. For instance, a frequency characteristic can be obtained by exciting a device under a test with a logarithmic or a step harmonic sweep signal. Since we can use a non-professional sound card, a ration between analogue and digital units is not known in advance when a measurement of external effect is done. Due to this fact, there is a capability to calibrate a gain of the sound card to express amplitude with analogue units within the application.
The application had been developed following a client-server architecture, where the graphical user interface is developed apart from a core module where the analyses, ASIO and VST host applications had been implemented. The software had been developed in C++ using Qt5 multiplatform libraries.


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Koios to Release New 'Fit Soda' Line of Functional Beverages
Posted: Sep 11, 2018 in Press Releases
VANCOUVER , Sept. 11, 2018 /CNW/ – Koios Beverage Corp. (KBEV.CN)(KBEVF) (the "Company" or "Koios") is pleased to announce it will begin production of a new line of functional beverages under the brand 'Fit Soda', beginning in Q1 of 2019.
A functional beverage is a drink augmented with nutrients and/or supplements in order to convey a health benefit to the consumer. Examples of functional beverages include sports and performance drinks, ready to drink (RTD) teas, and nootropic beverages sometimes known as 'smart drinks'.
Koios is already one of the leading innovators in the nootropic beverage industry, and is now branching out into a line of functional soda drinks.
"This is a beverage line we've had in our development pipeline since before we launched the company," says Koios CEO Chris Miller . "We wanted to produce a beverage that lets our customers enjoy a high end soda drink, but also get some benefit from that drink at the same time."
Fit Soda will be produced using only organic ingredients and manufacturing methods, without any artificial preservatives, colours or flavours.
"The idea is to create a beverage that gives you all the taste you expect from a quality soda product, but with none of the guilt," Miller says. "It's a 'soda with benefits'."
The Fit Soda line is the second phase of the Koios product launch that began in early 2018 with the production of the Company's line of nootropic beverages intended to increase mental focus and acuity. The Fit Soda line is generally focused more on physical well being, featuring blends that offer high levels of nutrients, amino acids, proteins, electrolytes or probiotics.
"Our society is experiencing huge demand for natural, organic foods and beverages, with the market for these products growing by an expected 70 per cent between 2016 and 2021," Miller says. (Source: Packaged Facts, 2016) "We're seeing that demand already, as our sales literally doubled over last month."
To meet that growth, Koios announced in August it had entered into a co-packaging agreement with Golden Global Goods, the parent company of Rocky Mountain Soda. The agreement gives Koios access to Rocky Mountain's high-volume production line, so the functional beverage maker can now produce a lower minimum amount of product at any given time, while achieving the same cost-effectiveness that could otherwise only be gained through mass production.
Miller says that agreement was reached in part so that Koios can schedule release of its Fit Soda line in January or February of 2019, while still maintaining production of its current lines of nootropic beverages.
Additionally, the Company will also proceed with its new line of THC and CBD infused beverages through its wholly owned subsidiary Cannavated Beverage Corp., as announced on Sept. 4, 2018 .
On behalf of the Board of Directors of the Company.
Chris Miller , CEO and Director, KOIOS BEVERAGE CORP.
About Koios Beverage Inc.
The Company, through its wholly-owned subsidiary Koios, Inc., is an emerging functional beverage company which has an available distribution network of more than 2,000 retail locations across the United States in which to sell its products. Koios has relationships with some of the largest and most reputable distributors in the United States , including Europa Sports, Muscle Foods USA , KeHE, and Wishing-U-Well. Koios is also the sole owner of Cannavated Beverage Co., a subsidiary that develops beverage products and formulas for the growing cannabis market. Through its agreement with Keef Brands , the largest producer of cannabis beverages in North America , Cannavated enjoys distribution throughout the State of Colorado and is preparing for distribution in additional US states where cannabis use is legal.
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What is KOIOS?
KOIOS makes drinks and supplements that use natural ingredients and are backed by science. Our beverages and supplements are designed to support your most important assets: your brain and body. You work hard and deserve the absolute best life has to offer.
KOIOS on shelves at major retailers. November 6, 2019
Watch our freshly minted brand video! This is what we are all about: September 5, 2019
Koios adds Keef Brands President and COO Travis Tharp to its Advisory Board August 7, 2019
Koios Reaches Distribution Agreement with Western Functional Beverages for Sales
The truth about weight belts and 7 stretches you can do in 7 minutes to fix your


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Community Feature
Province recommends wearing a mask when physical distancing isn't an option
May 20, 2020 May 20, 2020 News Review Media	257 Views 0 Comments
As the province gradually reopens the province, those taking public transit, returning to work or going out shopping are being urged to continue to adhere to public health advice as the best line of defence against COVID-19.
To assist the public, the Ministry of Health released specific recommendations on how to choose, wear and care for appropriate face coverings used in public where physical distancing is not possible, along with additional safety measures for provincial transit agencies.
"Now that we are in Stage 1 of our Framework for Reopening the Province, more people will be returning to workplaces, going to stores and parks, and using public transit," Premier Doug Ford said. "I strongly urge everyone to continue following the public health advice, such as physical distancing and restricting gatherings to five people or less. Although we are making progress, COVID-19 is still a risk that we must guard against. Please stay safe and protect yourself and others."
Since the beginning of the outbreak, Dr. David Williams, Ontario's Chief Medical Officer of Health, has advised people to wash their hands often, stay at home if feeling ill, and practise physical distancing by staying at least two metres apart from anyone outside their household. Now that the province is reopening, Dr. Williams and other health experts are recommending that individuals wear a face covering where physical distancing is not possible, such as on public transit or in a small grocery store or pharmacy.
"If you need a face covering, it is critically important people wear one that is appropriate for the situation," Health Minister Christine Elliott. "Those taking transit or going out who can't physically distance should wear non-medical grade cloth masks. We need to reserve all of the medical masks to protect our frontline health care workers, first responders and people who are ill."
Workers and employers may also consider using face coverings as an additional public health measure in addition to mandatory occupational health and safety measures.
To assist provincial transit agencies in protecting transit staff and riders in this new environment, the Ministry of Health is also recommending the following measures be put in place:
Physical distancing of at least two metres by admitting fewer passengers and using physical markers between seats;
The use of face coverings, particularly when physical distancing is not feasible;
Ensuring the availability of alcohol-based hand rub upon entering and exiting the vehicle;
Implementing engineering controls like plexiglass windows between drivers and passengers; and
Enhanced cleaning, particularly of high-touch surfaces.
"Ontario's public transit systems are critical to supporting the economy and getting people where they need to go as the province begins to reopen," Transportation Minister Caroline Mulroney. "The health and well-being of all transit workers and passengers is a top priority for our government and we will be working with transit agencies to ensure that public transit can continue to operate safely."
In the meantime, Ontario and public health experts will carefully monitor the key public health indicators outlined in A Framework to Reopening our Province at each stage of reopening and will adjust public health measures if necessary.
Learn more about how to properly wear, clean and dispose of face coverings.
← Province will keep schools closed for the rest of this school year
Local business produces face masks →


Meditation Friends: I'll be teaching another meditation retreat from 8:30 to 4:30, Saturday, Jan. 16, 2010, at the Friends Meeting House on the NW corner of 42nd and Grand Ave. in Des Moines, IA.. The information is below.
Please register only if you can participate for the full day, so that all retreatants might experience the benefit that comes from sharing sustained meditation practice with a group of persons that stays together the whole day. New and experienced meditators are welcome. Please post and share this announcement with others who may be interested.
corner of 42nd and Grand. Park in lot off 42nd or on Ingersoll Ave.
meditation as a psychological and spiritual growth method and Buddhism as a way of living and philosophy compatible with all religions. Charlie teaches classes, sitting groups, retreats and guides individuals in their practice. Paul Lambakis, a social worker in private practice, will lead a lovingkindness mediation and give instructions for sitting on cushions.
lotions or perfumes because some persons may be allergic to them.
Donation: Teachers express their generosity by leading retreats at no cost Instead, they gratefully accept donations or Dana, the Pali word for generosity. Dana is a voluntary way of expression your generosity to the teacher and supporting the continuation of the teachings.
Call or email for more information. Feel free to share and post this flier.


These hard candy treats are filled with a fruity, flavorful center that makes for a pleasant surprise for your tastebuds! Comes in four assorted flavors- Red Raspberry, Orange, Peach, and Lemon.
Sugar, Glucose Syrup, Invert Sugar Syrup, Citric Acid, Lactic Acid, Fruit Juice Concentrates (apple, raspberry, orange, peach, lemon), Natural Flavor, Fruit Juice (color), Vegetable Juices (color), Turmeric (color).May contain: Milk.


The necklace measure approximately 2 cm in height and approximately 1.5 cm at its widest point. The necklace is available in 22ct gold plate or sterling silver.
Bon Voyage takes us back to the golden age of travelling. Join Alex on a trip that starts in his home county of Suffolk from where you will be whisked off by plane to travel by camel across the desert then onto a seaplane to explore the land and sea in South America with a steam engine train journey across India to finish your trip. Along the way you'll be sure to send a postcard or two back home to tell loved ones of your adventures. Finally returning home with a suitcase covered in souvenir stamps and tags (and a few tales) from your travels. Once upon a time, the hot air balloon was considered an exotic method of travel with many attempting to fly around the world in one (with few succeeding). Alex took inspiration from the wild adventurers from days long gone to create his own Hot Air balloon. The necklace measure approximately 2 cm in height and approximately 1.5 cm at its widest point. The necklace is available in 22ct gold plate or sterling silver. This necklace comes on a fixed length 20 inch chain. All Alex Monroe jewellery is handmade in the UK.


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W. S. Merwin, 1927–2019
William Stanley Merwin died on March 15, 2019. He was 91. Merwin was a poet whose life and works lend themselves well to elegant variation. He was a conservationist—not only in his poetry, which often bemoaned the destruction of the natural world, but also in his personal life; he and his wife restored 19 acres of land in Hawaii ("His poems, like that forest, are a kind of time preserve," noted Dan Chiasson in the New Yorker) and founded the Merwin Conservancy. He was a literary translator who took up the practice on the advice of Ezra Pound as a way of improving his own writing. He was a practising Buddhist and an anti-war activist; he was a conscientious objector in World War II, and he rejected his 1971 Pulitzer Prize (for The Carrier of Ladders), requesting that the prize money be donated to a peace activist and the draft resistance movement. As well as being a Pulitzer Prize winner (twice: He also won in 2009 for The Shadow of Sirius), he was a U.S. Poet Laureate and the recipient of nearly every other award available to American poets. Merwin was a prolific writer, publishing over 20 books of poetry—which, in his signature style, offer little in the way of punctuation—and nearly as many books of translation, as well as several plays, memoirs, and other books. His last original collection of poems, Garden Time, was published in 2016, 64 years after his first, A Mask for Janus (1952).
For the Anniversary of My Death
By W. S. Merwin (The Second Four Books of Poems, 1993)
Every year without knowing it I have passed the day
When the last fires will wave to me
And the silence will set out
Tireless traveler
Like the beam of a lightless star
Then I will no longer
Find myself in life as in a strange garment
Surprised at the earth
And the love of one woman
And the shamelessness of men
As today writing after three days of rain
Hearing the wren sing and the falling cease
Five Questions With Cristina Querrer
Cristina Querrer
Astrolabes & Constellations is poet, writer, and artist Cristina Querrer's first full-length collection of poems. Published as part of the Agave Press Manuscript and Portfolio Series, the volume brings together questions of self, identity, travel, nostalgia, loss, and forgiveness, and examines what it is to be the product of circumstance. We spoke to Cristina about growing up in the Philippines, creative expression, and the meaning of home.
AGAVE: Navigation is a recurrent theme in the collection, and you say of yourself that you've "taken the scenic route in life": You were born and raised in the Philippines as an American military child, and you're a U.S. Army veteran with an MFA and an arsenal of tech skills. How do your poems support you in finding your path? How do they reflect that navigation?
CRISTINA QUERRER: Navigation and nautical imagery have been my recurring themes. Firstly, I come from a fisherman family in the Philippines, so water has been in my blood, so to speak. As far as nautical imagery, it mostly comes from my constant traveling since childhood as a U.S. military child and into adulthood. It's about my seemingly "meandering" migration pattern and the need to map and document the routes and experiences that appear in my poetry. It reflects back life's circumstances, all of what is within and beyond my reach.
What does the Philippines mean to you?
The Philippines is my starting point. It's my birthplace. I explore identity, and I find that being of mixed race, I was blessed to have a fixed Filipino identity, thanks to my mother and her relatives for their inclusion, acceptance, and love.
While you're a writer and poet first, you seem to want to delve into as many creative avenues as possible: You're also an artist and a blogger, and you've recently started podcasting; you've got your eye on songwriting as well. What motivates you to explore so many ways of expressing yourself?
What motivates me to explore various ways of expression is the discovery process. I like to explore other possibilities because I find the many modes of expression are interconnected and quite possibly feeds each other. Just as a visual artist can switch and work on several pieces of paintings, is how I approach the many creative avenues. Right now, building my podcast channel is on my radar, but I have other projects I'd like to return to, like my visual art, my next poetry collection, and finishing up my novel, to name a few.
You mentioned on your first podcast that you wanted to investigate what creativity means to you. What have you discovered so far?
Since my interviewing other writers and poets about their creative process on my podcast, I find that mine is not that different from theirs. Staying creative means staying open to ideas, to explore the possibilities. In my podcast, the writers and poets are doing this, no matter what projects they have done or plan on doing. Continuing to be creative to me is more about mapping and planning as well as being open and being spontaneous.
What do you hope readers of By Astrolabes & Constellations will experience through your poems?
I hope my readers can feel a sense of travel through my collection because it is a result of some of my travels: from the Philippines, the U.S. (Connecticut/New Mexico/Florida), to the Federated of Micronesia, where I have lived and worked briefly, and back. My opening poem talks about a paper boat that traveled the world and came "back to this island." "This island" can represent the Philippines or something as ubiquitous and essential as feeling home with oneself.
Astrolabes & Constellations is available to order through the Agave shop.
Cristina's podcast can be found at yourartsygirlpodcast.com.
Endpapers, beautiful endpapers
The first ICYMI of the 2019 is all about gratitude and celebration. Read on!
... to Lin-Manuel Miranda and three Hamilton collaborators, who are saving New York City's Drama Book Shop, (New York Times)
... to Simon Beattie, founder of the gorgeous We Love Endpapers group, and to The Guardian for helping the world discover it.
... to Georg P. Salzmann (1929–2013): With recent surveys showing that 5% of British adults do not believe the Holocaust happened and that 20% of young Canadians don't know or aren't sure what the Holocaust is, it's heartening to return to the story of Georg Salzmann, who spent nearly 40 years collecting around 12,000 books banned by the Nazis. (BBC)
... to Wyatt Walker, college basketball player and man with the arm that will save an ancient Roman statue. (Hyperallergic)
... to Jayant Kaikini and translator Tejaswini Niranjana, winners of the 2018 DSC Prize for South Asian Literature for No Presents Please. This is the first time that the award has gone to a translated work. (The Indian Express)
... to Hannah Sullivan, who won the 2018 T. S. Eliot Prize for Poetry for her debut collection, Three Poems. (Faber)
... to Duncan Murrell for winning the Ocean Art Underwater Photography Contest with his "Devil Ray Ballet". (Lonely Planet)
Women's Invisible Ink
Project WINK
Let's start the year with some optimism: $1.7 million dollars has been awarded to an academic research project focused on rescuing the poems, letters, and reflections written by European women in the early modern period (1500-1780).
The goal of Women's Invisible Ink: Trans-Genre Writing and the Gendering of Intellectual Value in Early Modernity is not to find the female Shakespeare. Instead, Carme Font, a lecturer in English literature at the Autonomous University of Barcelona, wants to finally accord value to the writing that until now had been cast aside.
Font and her team will uncover texts written by women who, for the most part, had no formal education. While their style may be less sophisticated than the treatises of their educated male contemporaries, these stories and diaries and prayers and poems nevertheless contain intellectually valuable thoughts.
Taken together, they present a view of the world that has yet to be acknowledged and appreciated.
Most of what women of the time wrote about their lives and ideas was not considered intellectual, whether they were addressing philosophical or religious questions or describing their lives and struggles. Font argues that throughout history, misogyny has permeated how people evaluate texts, leading to what she terms "cognitive androcentrism."
We still tend to forget that women's experiences are worthy too; as Font told El País, "we do not value a woman's text about the pain of childbirth, but we do value a soldier's letter from the front."
In recovering women's voices, Font aims to change our perceptions of women's intellectual contribution to civilisation. With her European Research Council funding, she will employ five full-time researchers to pore through national archives, libraries, and private collections, amassing a powerful collective legacy for us all.
The Worst Poem of the Year
Alfred Joyce Kilmer
Columbia University (1908) [Public domain], via Wikimedia Commons
The Washington Post and the Financial Times have already gotten a head start on end-of-year recommendations, offering up their picks for the best poetry books of 2018. But not every poet can win a Grammy like Leonard Cohen, whose The Flame is a must-read according to the Financial Times, or be hailed as a "Living Legend" by the U.S. Library of Congress like Ursula K. Le Guin, who made the Washington Post's list with So Far So Good. Which is why some Columbia University students set their sights much, much lower, on the 33rd annual Alfred Joyce Kilmer Memorial Bad Poetry Contest.
Held by the university's Philolexian Society, a literary and debate society that aims to "promote wit and humour on campus," the contest honours Alfred Joyce Kilmer and his meticulously rhyming contributions to the poetic canon. Nearly 40 contestants took to the stage this year, unabashedly embracing terrible metaphors, obnoxious rhymes, and pretentious language in their efforts to drive the three professors judging the proceedings to despair.
There were limericks. There was performance art. There were several modern takes on old classics. The winner was freshman Dylan Tymel and his "A Story of Unrequited Love in 5 Haikus", in which he recruits a "sweet, rotten, rhymeless" orange to provide the necessary imagery.
Your pith in my nails
As I peel you, stinging juice
Squirts into my soul
(From "A Story of Unrequited Love in 5 Haikus" by new poet laureate Dylan Tymel)
(If that strikes your fancy, you might want to check out some past winners.)
As per tradition, the event ended with everyone in attendance reciting Joyce Kilmer's "Trees":
Against the sweet earth's flowing breast;


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Phnom Penh Post - Cintri contract solid for 47 years
Cintri contract solid for 47 years
Post Staff | Publication date 27 August 2004 | 07:00 ICT
cintri.jpg
Keo Sovan, 42, father of five, is one of hundreds of street sweepers employed by the garbage contractor Cintri. He is unique among the sweepers because he has no hands; they were blown off in a landmine accident in 1985 when Sovan was a soldier in Battambang. He uses his elbows as braces to hold the broom and he is quite capable of looking after his patch on the riverfront between the FCC and Street 108. He also rides a bicycle to work. Sovan is paid $35 a month, and works seven days a week, eight hours a day.
aste collection was franchised to private contractors from June 1994 by the municipality
which found it was unable to cope with the responsibility itself.
Since then the service provider has been changed six times, mainly due to financial
difficulties, according to JICA.
The municipality now has a relatively stable relationship with contractor Cintri,
which was given an exclusive 47-year contract from September 2002 that excludes the
Neighborhood Management Project (NIP) area in central Chamkar Mon. Collection in
this area has been retained by the municipality.
A JICA report says: "Waste collection has generally been improved by the current
private company. However, many areas of the city are still without adequate waste
collection service and many tons of wastes are dumped into rivers and ponds, burned
or left uncollected to be scattered by animals, block drains and create unsanitary
"Waste collection is especially weak in outlying areas and in many of the city's
unplanned settlements that are home for thousands of the poorest families."
Expansion of the collection to unserviced areas will be a key recommendation of the
solid waste management master plan.
Currently 90 percent of urban residents have access to a waste collection service,
but only 45 percent of rural residents. Having access does not mean their garbage
is collected.
Robert Deutsch, a member of the JICA study team, says:
"Cintri's waste collection service fee is charged with the monthly electricity
bill. Fee collection was reported to be 60 percent for households and 15 percent
for businesses. Municipality staff collect the service fee in the NIP area door-to-door.
About 60 percent is collected."


October 7, 2013 in Art, ART/DESIGN, BOOKS.
September 29, 2013 in ART/DESIGN.
June 2, 2013 in Art, ART/DESIGN, Creativity, CULTURE.
May 17, 2013 in Accessibility, Art, ART/DESIGN, Creativity, CULTURE, Projects.
September 23, 2012 in Accessibility, Art, ART/DESIGN, Creativity, CULTURE, Online Media, Web site Design and Development.


Marlene Dobkin de Rios, Ph.D. and Oscar Janiger, M.D.
Foreword by Rick Strassman, M.D.
From 1954 to 1962, Dr. Oscar Janiger, an American researcher, conducted a groundbreaking set of clinical LSD studies. Almost a thousand people from all walks of life participated, people with little or no expectation of what to expect from the LSD experience. Janiger's goal was to create as neutral a setting as possible, offering no particular guidance beyond observing safety protocols, in an attempt to determine what the core characteristics of the LSD experience, if any, might be. Along the way, he developed a substudy to observe the effects that LSD had on professional artists and their work.
In LSD, Spirituality, and the Creative Process, Dr. Marlene Dobkin de Rios reports on the results of Janiger's studies, in a book that is provocative, frustrating, and ultimately points to potential avenues for building on Janiger's work. De Rios, a medical anthropologist and author of Visionary Vine and Hallucinogens: Cross Cultural Perspectives, is the author here, presenting Janiger's work and drawing conclusions of her own based on additional knowledge that has accumulated since the time of Janiger's research.
In truth, the book's title is slightly misleading; there are really two books here, LSD and the Creative Process and LSD and Spirituality. I suppose it was too much to hope that the book might actually explore a relationship between creativity and spirituality in the context of LSD, but perhaps it's best left to artists to tease out and describe that relationship.
The artist substudy focused primarily on painters and visual artists, asking them to create a "before LSD" and "during LSD" piece based on a tribal doll that Janiger had on hand. The tendency was for realistic or representational styles to become more abstract or expressionistic while under the influence, and although it's not clear whether the "during" pictures are generally inferior or superior, it's often the case that the artists believed the "during" pieces were influential breakthroughs in their styles. One artist wrote, "LSD opened up a whole new world of creative possibilities both in art and in my life. I became more daring and more willing to venture into the unknown, into the mysterious." In a follow-up study with 25 of the artists in 1986, de Rios notes, "Many believed [LSD] had influenced their work from that point on… if the experience wasn't the most important in their artistic development, it was one of the most important." Several artists, reflecting the proselytizing that is common to first-time LSD users, expressed that all artists should experience the perceptual shift of LSD.
Believing that "LSD favors the prepared mind," Janiger only allowed professional, accomplished artists into his study. He found that "the artists who were most able to represent their subjective LSD experiences in their art were those who had most developed their technical abilities so that they had the rigor to bring back to consensual reality their artistic vision." LSD didn't make non-artists into artists, or bad artists into good artists – it had no specific impact on the development of technique, but by giving artists a new way to model perception and experience, it changed their overall approaches.
Meanwhile, in the larger study, Janiger found that 24% of respondents indicated they'd had a mystical experience of some kind. One volunteer, for instance, wrote, "The overriding feeling of the LSD experience was one of wholeness, unity and a kind of unutterable joy and contentment." Indeed, another volunteer offered a great list of attributes that all mystical experiences share, ranging from a total experience of "nowness" to a dramatic experience of "meaning," all of which LSD provided. Janiger considered spiritual responses an anomaly, while de Rios wonders why so few responses were self-identified as mystical.
The book leaves open several opportunities to make analogies between creative process on the one hand ("Picasso says the most important feature of looking at things creatively: When you paint an apple, you should be an apple – [psychedelics] fuse the individual with the object perceived") and spirituality on the other ("In mystical states there is a complete lack of differentiation between the self and the object of awe and reverence, and boundaries dissolve"). Mystical states are described as having "a profound and intrinsic sense of underlying beauty," but no attempt is made to explore that from an aesthetic direction. There is, in fact, only one example given where the analogy is made explicitly, by one of the volunteers, a musician, who wrote, "The essence of religious experience… permeated the afternoon to a degree of intensity that I had never known, except for brief, fleeting moments in the past… mostly while I was composing. They had been so intense and special that there was no mistaking their absolute similarity to the… LSD state." In addition, no presentation of the spiritual beliefs of the artists in the substudy is presented which might give insight into the lives of those artists most affected by LSD.
Clearly I am pointing at the idea that spirituality and creativity can be very intertwined if not isomorphic in an individual. Indeed, the word "inspiration" often invoked by artists is as much spiritual ("in spirit") as it is creative, and artists often say "The spirit moved me," referring to some ethereal Muse that might well be a spiritual one. Of course, the intersection of "science" with "spirituality" – as expressed in neurotheology, for instance – is almost as unwieldy as the intersection of "science" with "art." It is to Janiger's credit that he nevertheless attempted the study in the first place, even if his approach seems to result in a haphazard jumble of science and art. It's tentative first steps like these that often point the way for future explorers.
Toward the end of the book, de Rios describes ritual psychedelic use in contexts such as the Native American Church and its use of peyote, or União do Vegetal and its use of ayahuasca. She observes that the inherent suggestibility in the psychedelic state allows shamans and medicine men to create culturally sanctioned healing and community building via psychedelics. She contrasts this with Janiger's unwillingness to "stage manage" his volunteers' experiences, which produces a huge range of idiosyncratic responses.
But trained shamans and trained artists go through similar rigors, similar discomforts, and employ similar sleights-of-mind, to produce similarly magical results. "Suggestibility" is another way of saying "the willing suspension of disbelief," the alchemical transformation at the heart of good theatre or good art in general. The "acid tests" that led to the rise of the Grateful Dead, and the explosion of the rave scene, are good examples of contexts where psychedelic use seems appropriate and perhaps even integral. But future artists may create even more compelling, and likely thoroughly unique, contexts for using psychedelics to explore "art as mystical experience," once the inspiration strikes.
Regardless, LSD, Spirituality, and the Creative Process is a dry but valuable addition to our understanding of LSD. Janiger's research has left several doors wide open, and the paths to those doors are clearly described; hopefully, others will someday take up his exploration where he left off.


Pre-nuptial shoots also serve as a great montage which guests and the couple can journey together as they all look back on the couple's love story before their happy ever after. Taking the time to wander to places that the couple love or those that they visit before their courtship, places they have been through and many more. This is an effective way to create a timeline and watch as their love grows in the photos.


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Opinion | Commentary
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Piedmont Exedra - Piedmont news now
Piedmont Exedra (https://piedmontexedra.com/2020/09/bay-area-coronavirus-updates-tues-sept-1)
Bay Area coronavirus updates | Tues., Sept. 1
By Eli Walsh | Bay City News | September 1, 2020
The latest developments around the region related to the novel coronavirus, also known as COVID-19, as of Tuesday evening include:
The Monterey County Board of Supervisors unanimously voted Tuesday to appropriate nearly $12 million to the county Emergency Operations Center's response to the novel coronavirus pandemic. The board voted to increase appropriations to the EOC by $11.7 million, with roughly $4.88 million coming from the federal Coronavirus Aid, Relief and Economic Security Act and roughly $6.88 million coming from the county's cannabis tax revenue fund. The board also approved an additional $250,000 for the county EOC to operate the Food Bank for Monterey County. That funding also came from the cannabis tax revenue fund, according to county officials.
San Francisco has been taken off the state's COVID-19 watchlist as the number of new daily cases citywide is slightly declining, Mayor London Breed announced Tuesday — the same day several businesses began operating outdoors. The city was placed on the list back in July when it was seeing more than 100 new COVID-19 cases daily. Currently the city is seeing about 75 new cases daily, which although remaining somewhat high, allows the city to move forward with the reopening of some businesses under state guidelines. On Tuesday, the city began allowing personal services like haircuts, massages and nail services to resume in outdoor settings, while others like tattoo art, facials and waxing remain on hold for the time being.
Tuesday is full of uncertainty for thousands of renters across the North Bay and beyond as a statewide temporary ban on evictions expires at midnight. In Marin County alone, Superior Court officials have suggested that as a result, 100 to 200 unlawful detainers — which initiate the court process to evict a tenant — will be processed in September starting Wednesday. That's up from about 20 a month in pre-COVID-19 times, said Lucie Hollingsworth, senior attorney of the housing unit at Legal Aid of Marin. "We are definitely looking at mass displacement," Hollingsworth said.
As of Tuesday at 5 p.m., officials have confirmed the following number of cases around the greater Bay Area region ("+" number added since last check Mon., Aug. 31, unless otherwise noted):
Alameda County: 18,445 cases (+258) (Totals include Berkeley Health Department data)
Contra Costa County: 14,035 cases (+97), 179 deaths (+4)
Marin County: 6,164 cases (+96), 96 deaths (+2) (Totals include San Quentin State Prison)
Monterey County: 8,068 cases (+88), 58 deaths
Napa County: 1,444 cases (+13), 13 deaths
San Francisco County: 9,544 cases (+50), 83 deaths
San Mateo County: 8,260 cases (+91), 132 deaths (+1)
Santa Clara County: 17,465 cases (+452), 248 deaths (+4)
Santa Cruz County: 1,755 cases (+19), 7 deaths
Solano County: 5,547 cases (+159), 47 deaths (+1)
Sonoma County: 5,800 cases (+82), 80 deaths
Statewide: 707,797 cases (+3,712), 13,018 deaths (+85)
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Battalion Chief Neal Berryman said firefighters were able to help move out more than $20,000 worth of undamaged food that had just been delivered to the restaurant.
Owner Ali Tabrizi said the restaurant would likely be closed for a number of weeks for repairs.
He said the gas can, used to fill a pressure washer, was empty at the time of the fire. But city Fire Marshal Rodger Maggio said the can still had liquid in it when he examined the room.
Tabrizi added that the restaurant's district manager saw the electrical panel on fire and used an extinguisher to put it out. But the blaze had already spread to the attic, he said.
Tabrizi, who owns several Denny's franchises from Santa Maria to King City and recently announced plans to open one in Atascadero, said he would try and find temporary work for affected employees at his nearby restaurants.
Smoldering debris kept firefighters at the scene for the majority of the day as crews worked to remove any risk of the fire reigniting. The smoke could be smelled for miles.
Maggio said several code violations were found at the restaurant, including using an attic without sprinklers as a storage area and keeping an ignitable liquid in the electrical room.
"It was a hot day yesterday and warm this morning," Maggio said. "Gasoline, when it heats up, releases vapors into the room and was surrounded by all sorts of ignition sources."
Maggio said the flames shot up the wall toward the line for the building's vacuum system and into the attic like a chimney where it burned until firefighters put it out.
Denny's is the third restaurant without fire sprinklers in the past two years to receive major fire damage, said Maggio.
Bon Temps, a Cajun restaurant in San Luis Obispo, recently reopened seven months after a fire caused up to $100,000 in damage to its interior.
In March 2010, an arson fire completely destroyed Cabo San Luis on Foothill Boulevard. Kona's Deli, damaged in the same blaze, just reopened last month.
Reach AnnMarie Cornejo at 781-7939. Stay updated by following @a_cornejo on Twitter.
Here's a video of the fire, shot by San Luis Obispo Fire Capt. Neal Berryman.
San Luis Obispo city firefighters battled an attic blaze at Denny's on Madonna Road on Oct. 13. Read more » | Photo submitted by Scott Kessler
San Luis Obispo city firefighters battled a stubborn attic blaze at Denny's on Madonna Road in San Luis Obispo on Monday morning.