Conductor and composer Matt Aucoin ’12 is often compared to another Harvard alumnus with an extraordinary gift for music: Leonard Bernstein. Anyone familiar with Aucoin’s work and talent knows it’s an apt comparison. After graduation, Aucoin took his degree in English and years of experience with Harvard’s music scene to New York to work with the Metropolitan Opera. He now divides much of his time between New York and Chicago, where he works with the Chicago Symphony Orchestra and Civic Orchestra of Chicago. He is also the composer-in-residence at the Peabody Essex Museum. In May, Aucoin’s opera “Crossing” will premiere with the American Repertory Theater (A.R.T.) as part of the theater’s involvement with the Harvard Civil War Project, a series of events and activities to commemorate the 150th anniversary of the conflict. Directed by A.R.T. Artistic Director Diane Paulus, “Crossing” was inspired by the diaries Walt Whitman kept while serving as a Civil War nurse.Ahead of a 6 p.m. Mahindra Humanities Center talk Thursday at Paine Hall, Aucoin told the Gazette about the ideas and process behind the opera, which takes its name from “Crossing Brooklyn Ferry.”Matt Aucoin ’12 in action at the Peabody Essex Museum, where he is the composer-in-residence. Credit: Social PalatesGAZETTE: Can you tell me how this project got started?AUCOIN: It was the spring and summer of 2012. Diane [Paulus] and some other A.R.T. staff members saw my opera “Hart Crane” at the Loeb Mainstage and immediately asked about doing something together. Shortly thereafter Ryan McKittrick, their dramaturge, suggested I look again at Whitman’s diaries because they were planning a big Civil War-themed season. I did not initially find the Civil War an especially appealing subject for an opera because if you sort of imagine what a Civil War opera would look like, at least for me, I see lots of open fifths and Aaron Copland-ish stuff and a lot of bombast, and it’s just not me.But Whitman is a figure that I have been fascinated by for a long time, and his personal journey, his decision to drop everything and volunteer in the hospitals for three or four years, and the mystery of that. What was he really doing beforehand? Was he in some sort of middle-life crisis? What were his motives? Was it pure generosity or was he also attracted to a lot of the rather helpless 18-year-olds by whom he was surrounded? It’s just a fascinating situation. And the hospital itself is a fascinating space. The hospital is kind of like Dante’s purgatory, it’s neither life nor death. The people there aren’t sure if they are going to return to this world or pass on to the next one. So it’s a desperately urgent place, everyone has a message they need to pass on. Whitman sees himself as the healer and the truth-teller and the listener and it just struck me as such a dynamic space to live in.So that’s when the piece started taking shape, but I did a gigantic rewrite of it just last summer and fall.GAZETTE: Why?AUCOIN: The reasons were both musical and dramatic. Musically I think I discovered this kind of harmonic chain reaction or pressure point, a form of musical motion that I hadn’t discovered before. I discovered it at the very end of what I thought was the final version of the opera, in the final chorus. And as soon as I came upon it, I said to myself, “Well, this is the essential kernel of the opera. This is it. This is the stuff. I can’t leave it be as it is. I have to go back and use it as the kind of DNA of the whole piece.” So I rewrote most of the music.And I also realized over the course of writing the libretto that a piece that I had originally thought was an ensemble piece, a kind of chorus of voices of the patients in the hospital, is really about Whitman and about this one fictionalized soldier with whom he ends up having a very intense relationship. And so there was a lot of cutting out the excess and ruthlessly, as it were, killing of characters that proved not to be essential. And so it’s a long, long road, but there isn’t any shortcut. The only way I could really discover the piece was by writing the wrong piece first.GAZETTE: How long did it take you to get the first draft down? And how long did it take you to redo?AUCOIN: The curious thing is that I worked on the first draft from about December 2012 until January 2014. So just over a year, and then let it sit for a couple of months. We did a workshop of it in April of last year, at which point I realized I really wanted to change it. So it’s really just between June and September that the piece as it stands was written. And that might sound like a short period, but it’s just the opening of the floodgates and the pressure behind the gates had been building for a long time.GAZETTE: Can you tell me about the plot?AUCOIN: The Civil War’s about to end, and we are in a hospital somewhere in the kind of limbo outside of D.C., near the border between north and south in a kind of wasteland, and Whitman gives a prologue in a very Dantesque way. He says: “I reached the middle of my life and realized I didn’t know who I was and I just had to do something radical. I had to enter another world to rediscover myself.” And I don’t think that’s such a stretch, actually, given that Whitman went through long periods of wandering, of not writing even, and then working in the hospitals. And then we enter the space and we meet the other protagonist, a soldier named John Wormley, who is actually a Confederate who has lied and claimed that he is a Union soldier in order to be treated at a Union hospital. He and Whitman are immediately interested in each other as the two sharpest people in this rather bleak space. They both have a sense of humor and neither of them quite believes the other’s story. Over the course of the piece Wormley betrays Whitman, forces him, unbeknownst to Whitman, to reveal some strategic information that would endanger everybody in the hospital. And after that happens, the relationship becomes or threatens to become a love relationship, but the betrayal’s already happened.GAZETTE: In terms of writing the music versus the libretto, does one come before the other for you? Do you work on them simultaneously?AUCOIN: The libretto always comes first for me.GAZETTE: Why?AUCOIN: If you think about how specifically the music in an opera depicts or reflects what’s happening on stage, practically if someone blinks or if someone’s facial expression changes, you want the music to be aware of it. It’s so specific that to write the music without the libretto strikes me as almost impossible because what are you working off of? What are you setting to music if there is no libretto? So I do try to bisect my brain and treat myself as a writer of words exclusively, and then once I’ve written the libretto to take off that hat and put the composer hat back on. Of course, along the way, musical ideas will occur to me and I am essentially scribbling marginalia as I write the libretto, musical marginalia, but they are two distinct processes. For me that’s a much cleaner way of working.GAZETTE: Where do you do your composing? Is it just sitting down at the piano?AUCOIN: Yes, it is, in my apartment. Basically I just lock myself in the cave and write. I do prefer to work with a piano because I think it keeps you honest, to have this big box, this mechanical thing to test your highfalutin’ ideas. I’ve got a studio … it’s almost like living in a tree house or a birdhouse. The walls are mostly glass and I am on the roof basically. So the light is wonderful, though it gets very cold in the winter.GAZETTE: Did you study Whitman at Harvard? And in working on this piece, did you reach out to Helen Vendler or Jorie Graham or any other Harvard professor for advice?AUCOIN: I spoke with Jorie early on. I didn’t take any Whitman-specific classes, but his poetry came up both in Jorie’s workshops and in a class I took taught by Steve Burt. He’s just one of those inescapable voices. I read him all throughout college. Read straight through “Leaves of Grass.” And he has a quality that reminds me of Beethoven, which is the line between what’s really great and what’s really terrible, just disastrously bad, is very thin. You almost can’t distinguish it. The same things that make “Crossing Brooklyn Ferry” a masterpiece are the kinds of gestures that make much of his other war poetry, for me, unreadable. It’s just like you’re stuck in a room with a crazy person and he’s shouting at you. In a similar way, when Beethoven pounds away at a tiny, single musical building block and just kind of pounds at the same door until either he breaks the door down or he is turned away. Whether he breaks it down or is turned away, he is doing the same thing. I think with a lot of other artists there’s a much subtler spectrum of good, mediocre, great, bad. But with Whitman and Beethoven, they take the biggest risks, and so they write some of both the best and worst stuff.GAZETTE: Can you tell me about the title?AUCOIN: It comes originally from “Crossing Brooklyn Ferry,” which is Whitman’s greatest revelation poem. In the process of crossing between Brooklyn and Manhattan on the ferry he becomes aware of a unity of human life across centuries and across geographical space, and somehow the motion of the water and the fragility but strength of the boat and the presence of other passengers and the view of these two shores and this passageway and the sky and everything, it just makes him aware that in the moment of crossing between these two places, in a way you sort of are any person that’s made that journey, that being part of these vast cycles of motion you can feel that you are part of something greater than yourself. It’s such a simple and such a profound realization. And then I realized that the word crossing has all kinds of resonances for my piece. John has crossed illegally into Union territory. There’s the transgression of the love affair, and there’s also the meaning of crossing as transcendence, crossing from one realm into another. Between the prologue and the first group scene, Whitman crosses out of his former life into this purgatorial space. And he finds that everyone who is in there is trying to cross out of it. So, I toyed with hundreds of titles and ended up choosing the simplest one. So that it seemed like crossing in all of those senses is what the piece is about.GAZETTE: What’s it been like working with Diane Paulus?AUCOIN: She is a force of nature. She has laser vision. If there’s something in a scene that won’t work theatrically, a moment that won’t read for the audience, she always, always sees it. And that’s the kind of thing that maybe one does not see if you’re the composer and if you have been living inside the cave of the piece and you have no perspective on it. She has been very helpful and very generous about that.It’s really rare for a new piece to get the kind of tender loving care that Diane Paulus and Diane Borger and Diane Wondisford and Ryan McKittrick and the whole company have lavished on it. They’ve been willing to let the piece develop. They have offered great feedback that has informed every decision, including the decision to rewrite practically the whole thing, which was itself such a crazy thing to do. And I’m glad they had the faith to let me do that. It would have been perfectly reasonable for them to say, “It’s a little late for that.”
Ever wonder how that slice of tomato on your summer BLT got to be so perfectly bread sized?Geneticists at the University of Georgia have found the gene variants that control a tomato’s size. They published their findings recently in the open-access journal PLOS Genetics. Professor Esther van der Knaap — who has spent much of her career working to understand the genetic shifts that have occurred between ancestral, wild tomato varieties and modern, cultivated tomatoes — has helped to pinpoint another gene that regulates the size of the tomato’s individual cells, which in turn helps to regulate the size of the overall fruit.“The knowledge of the gene will now open up avenues of research into how fruit size can be increased further without negatively impacting other important qualities such as disease resistance and flavor,” said van der Knaap, a professor in the department of horticulture and the Institute of Plant Breeding, Genetics and Genomics at UGA.When humans first began cultivating the wild tomato in the Andean mountain regions of Ecuador and Northern Peru, they continually selected plants that produced larger fruits.Now, thousands of years later, tomatoes on the market can weigh 1,000 times more than the fruits of their ancestors. Van der Knaap and her research team investigated a gene they named Cell Size Regulator, or CSR, that boosts fruit weight by increasing the size of the individual cells in the fleshy part of the tomato.Compared to wild tomatoes, domesticated varieties carry a mutation in the CSR gene that affects the way tomato cells develop before they ripen and fall off the plant. The variation originated in the cherry tomato but now appears in all large cultivated tomato varieties.The new study expands on previous research that had identified the location of CSR at the bottom of chromosome 11 as only a small genetic contributor to tomato weight.The transformation of the tiny, berry-like fruit of wild tomatoes into the beefsteaks or Roma tomatoes grown by farmers today involved the development of a new mutation to support the change in function of the CSR gene. Large fruit required many more mutations in other genes to allow the plant to carry and support its new bounty.“There was slow selection for large fruit by people because, of course, if the tomato fruit grew too big for the plant, it would collapse the plant and that would be a dead-end plant,” said van der Knaap. “If the fruit is too large for the plant then it can only make that one fruit before it collapses. Any farmer would say, ‘That’s no good,’ and toss it out.”It took thousands of years for farmers to breed tomato plants to produce the fruit we know today because they were selecting plants not only for large fruit but also for the structure needed to support the fruit. Van der Knaap and other researchers are still looking for the genes that contributed to the mutations that led to plants that could support larger tomatoes.“For fruit weight, I think we have just scratched the surface — there’s still a lot that we don’t know,” van der Knaap said.Van der Knaap’s team’s journal article in Plos Genetics is available at http://journals.plos.org/plosgenetics/article?id=10.1371/journal.pgen.1006930. Other collaborators are graduate student Qi Mu; postdoctoral scholars Zejun Huang, Manohar Chakrabartiand and Eudald Illa-Berenguer; visiting research scholars Xiaoxi Liuand and Yanping Wang; and graduate student Alexis Ramos.(The staff of PLOS Genetics contributed to this release.)
Wpd France has signed an agreement with DORIS Engineering to deliver studies for floating offshore wind in French waters.Under the agreement, DORIS said it will provide strategic expertise in aero-hydrodynamic, mooring, cables, geotechnical and structural issues.According to the French company, the research and studies will provide wpd with insights in terms of technologies, construction and O&M strategies related to floating offshore wind.To remind, wpd is part of a consortium developing the 498MW Fécamp and 450MW Courseulles- sur-Mer offshore wind projects in France, selected in the country’s Round 1 offshore wind tender in 2012. Both projects are expected to be commissioned by 2021.Last year, the company also signed an agreement with the Brittany Region to promote the development of floating wind in this French area.
Peake Villa are through to the John Delaney cup final after they beat local rivals Thurles Town at Thurles Greyhound stadium last night.Town led 1-0 at the break before a flurry of goals saw it finish 2-2.In extra time Pippy Carroll hit the winner as Peake Villa move on to play St Michael’s from Tipp town in Saturday’s decider. Photo © Pixabay
By Liz SheehanSEA BRIGHT – In an effort to accommodate its beachgoers, most of whom live out of town, the borough will offer sales of half-price passes for the 2017 season on four Saturdays, from Dec 1 through March 31.Previously, the bargain prices for the passes were available only on weekdays from 9 a.m. to 4 p.m.“People should not have to take a day off to get a beach pass,” said Borough Clerk Christine Pfeiffer.Last summer, 70,752 beachgoers visited the town’s beach. “We get the overflow from Sandy Hook,” Pfeiffer said.Passes will be sold 10 a.m. to 2 p.m. at the Borough Hall on December 17, January 21, February 18 and March 18. The cost of regular beach passes will be priced at $100, the same as last season. But there is a 50 percent discount for patrons 16 through 64 when purchased between Dec. 1 and March 31.Those 65 years and older or disabled pay a discounted rate of $35 at all times.There is no fee for children under 11 or for active military personnel or their family members. Locker rentals will cost $250.Costs for going to the beach in the town jumped sharply last year when the borough installed a metered parking system costing a dollar an hour, in parking lots that had long been free. The borough is exploring the idea of an electronic beach badge system which will allow visitors to purchase season, daily or special entrance passes with a mobile device, such as a smart phone. Users can flash the beach badge from their mobile phones when necessary. Similar systems are in use at Manaquan and Asbury Park.Borough Administrator Joseph Verruni said that there would be no cost to the town for the use of the service but users would pay a small fee.
Tags:#Apple#custom smartphones#iOS 7#iPhone#mobile dan rowinski Why IoT Apps are Eating Device Interfaces Apple today unveiled the iPhone 5S, the latest top-end smartphone from the labs at Cupertino. The iPhone 5S takes Apple to a level of luxury that it has not breached before, rendering obsolete its history of white and black iPhones and replacing them with high-grade aluminum that will come in silver, gold and “space gray.” But the iPhone 5S is a lot more than just a good-looking smartphone. Apple is calling it the “most forward-thinking phone yet.”Apple revamped the internal architecture that runs the iPhone 5S to include a new A7 computer processor, a PC-like 64-bit kernel and a new processor it is calling “M7” (a “motion coprocessor”) that will continually monitor motion data. Apple claims that the iPhone 5S is 40 times faster than the original iPhone released in 2007 and five times faster than the iPhone 5. The camera on the iPhone 5S is a new “five-element Apple designed lens” with a F2.2 aperture that the company says has a 15% larger sensor area and “true tone flash” that is designed to take more realistic looking pictures with the new camera. The flash has two LED-based lights to help balance light quality with each individual picture. The camera app has been updated in iOS 7 to support the new sensor and flash that Apple says that it will support 1000 unique variations of light settings. The pixels are bigger in the iPhone 5S camera, allowing for a clearer picture from the iPhone 5. The video setting captures HD streams at 720 pixels at 120 frames per second.The iPhone 5S also comes with a fingerprint sensor that Apple is calling “Touch ID.” It uses your fingerprint on the “Home” button to authenticate you as the user and unlock the device. The Home button is covered with sapphire crystal so it won’t scratch and surrounded by a stainless steel “detection ring” that knows when you are pushing your finger against the button.Touch ID can be used for authenticating the user when buying apps in the App Store (no more entering your iTunes ID to buy apps). The Home button and Touch ID are thin at 170 microns. It reads your fingerprint at 500 pixels per inch resolution scans in 360 degrees, meaning you can touch it from any angle and it will unlock your phone. Apple says that your fingerprint will never be uploaded to Apple’s servers or its iCloud service and that other apps on the iPhone will not be able to access Touch ID in any way. The iPhone 5S will run Apple’s new iOS 7 operating system that has a sleek “flat” new design and a variety of new features to take advantage of the new 64-bit architecture on the phone. The iPhone 5S will retail at $199 for the 16GB version, $299 for 32GB and $399 for 64GB on a two-year contract. The iPhone 5S will be available September 13 for pre-orders and available in stores on September 20th in the United States, Canada, Australia, China, France, Germany, Japan, Singapore and the United Kingdom. Overall the iPhone 5S will be available in 100 countries on 270 different mobile carriers. It will be available on all four major carriers in the U.S.Apple also announced that its iPhone 4S will stick around in its product lineup and that an 8GB version will be available for free on contract.Image courtesy REUTERS/Stephen Lam What it Takes to Build a Highly Secure FinTech … Related Posts The Rise and Rise of Mobile Payment Technology Role of Mobile App Analytics In-App Engagement
About the authorPaul VegasShare the loveHave your say Shearer praises Hudson-Odoi for Chelsea’s win over Newcastleby Paul Vegas5 days agoSend to a friendShare the loveGeordie legend Alan Shearer praised Callum Hudson-Odoi for Chelsea’s win over Newcastle United.Chelsea beat Shearer’s former side Newcastle 1-0 on Saturday thanks to Marcos Alonso’s late goal.But it was Hudson-Odoi who provided the assist, his third of the season, as Chelsea continued their winning ways under manager Frank Lampard.”He has played three times this season and he has three assists,” Shearer said on BBC’s Match of the Day.“He had such a terrible injury which he’s come back from. He’s 18 years of age and can spray the ball around like that, left or right, and he is full of confidence.”He can go on the outside and come on the inside.”Everything Chelsea did well he was at the heart of it.“He did his bit defensively which he had to do and he was hugging the touchline, and with that drive that he’s got he makes it very difficult for defenders.”For the goal he sets it up for Alonso, puts it into his path and says ‘go on, have a go’ and that was the winning goal. Chelsea were the better team and deserved to score.”
Tom Fennario APTN National NewsThe Algonquins of Barriere Lake say they’ve been hit with a nasty surprise.The Quebec government loosened regulations on mining on their land.And did so, they say, without telling them.
OTTAWA – Leaders from across Canada’s political spectrum voiced their support Sunday for free trade and opposition to U.S. tariffs on steel and aluminum while denouncing the Trump administration’s unprecedented attacks on Prime Minister Justin Trudeau.Among them were some of Trudeau’s fiercest critics, Conservative Leader Andrew Scheer and incoming Ontario premier Doug Ford, both of whom promised to stand with the government as it seeks to resolve what has become an all-out trade war with the U.S.Former Canadian prime minister Stephen Harper, meanwhile, questioned Trump’s “obsession with trade relations with Canada” during an appearance on U.S. television.All of the comments came after Trump unleashed a Twitter tirade against Trudeau following the G7 on Saturday, in which the president called the prime minister “dishonest and weak.”Trump also threatened to go after Canada’s auto industry, a mainstay of the Ontario economy, in the same way that he has already done with its steel and aluminum sectors.The tirade was enhanced by extensive comments Sunday from two of the president’s closest advisers who said the prime minister betrayed Trump in comments Trudeau made at the end of the G7 summit in the Charlevoix region of Quebec.Trump’s top economic adviser Larry Kudlow said Trudeau made Trump look weak ahead of his North Korea summit, while trade adviser Peter Navarro said there was a “special place in hell” for the prime minister.“It’s certainly not helpful to have that type of language when we’re dealing with two governments, two countries that have had a long history of mutual support, mutual co-operation,” Scheer told reporters during an event at an Ottawa gas station on Sunday.“That’s why we have been doing what we can to present that united front when we’re talking about the benefits of NAFTA, when we’re talking about the benefits of free trade for both Americans and Canadians.”That doesn’t mean the Conservatives support everything the Liberals are doing, Scheer added before listing a number of “missed opportunities” to put pressure on the U.S. and make Canada more attractive to foreign investment.Those include a failure to quickly ratify the 11-country free-trade deal known as the Trans-Pacific Partnership as well as the government’s push for a national carbon tax and its refusal to cut taxes for businesses.Nevertheless, he said, “every time in history when there are these types of discussions, all Canadians who believe in free trade, political parties who believe in the benefits of free trade as a philosophy, as an economic policy goal, have worked together.“And that’s what we are going to continue to do.”Ford, a populist campaigner who has praised U.S. President Donald Trump in the past, similarly said on Sunday that he stands “shoulder to shoulder” with Canada’s Liberal prime minister because jobs in his province are at stake.“My number 1 priority is to protect jobs in Ontario, especially protect the steel workers, aluminum workers. That’s going to be a priority,” Ford told reporters at Queen’s Park.“We’re going to sit down with our federal counterparts. We’re going to stand united. I know all provinces should be standing united with our federal counterparts and we’ll deal with that.”Former prime minister Harper rounded out the conservative triumvirate during an appearance on the Fox news network in which he noted that the deep trade relationship between Canada and the U.S.The U.S. has legitimate concerns about trade with China and even Mexico when it comes to automobiles, Harper added, “and I would be the first person telling our government to be a partner in those things because I think Canada shares those concerns.”However, he added, “I don’t understand the obsession with trade relations with Canada.”Conservatives weren’t the only ones offering support as Green Party Leader Elizabeth May tweeted that the prime minister was handling Trump’s “outbursts” and “bullying” as well as anyone, and “all Canadian leaders need to support Trudeau.”And NDP MP Charlie Angus tweeted that Trump’s behaviour was “appalling,” adding: “This is a small-minded man not fit for public office. Canada will not be pushed around by his circus-thug bluster.”Not everyone was impressed, however, as Conservative Sen. Leo Housakos accused the prime minister of using an “incompetent approach” to dealing with the U.S., in part by refusing to pursue one-on-one trade talks with Washington.“Stop poking U.S., stop jumping in front of bullets meant for Mexico, start bilateral (NAFTA negotiations) and stop dialogue with Iran,” Housakos said on Twitter.“Focus on (a) deal that’s critical to our economy.”Former Canadian ambassador to the U.S. Derek Burney was among those urging Canada and others to stay calm, adding that he hopes Trump’s latest antics will spark more “sober sentiments” in Congress and with others in the U.S.Several members of Congress and former U.S. officials were quick to express their disapproval with the administration’s attacks on Trudeau and Canada, including Republican Sen. John McCain and Democratic Sen. Chris Murphy.Murphy retweeted a comment by European Council President Donald Tusk who appeared to mock Navarro by stating: “There is a special place in heaven for (Trudeau). Canada, thank you for the perfect organization of (the) G7.”
FORT ST. JOHN, B.C. – Data collected by Environment Canada shows that a series of thunderstorms caused over 7,000 lightning strikes to be recorded over Northeast B.C. on Sunday.Meteorologist Louis Kohanyi said that several massive thunderstorms began forming over the Rocky Mountains near Chetwynd and Hudson’s Hope during the middle of the afternoon Sunday. Kohanyi said however that daytime highs will only reach the low- to mid-20’s, meaning the Peace Region won’t see temperatures that were nearly as intense as those seen on Saturday and Sunday.Fort St. John and Dawson Creek both broke alltime high temperature records for July 28th on Saturday.The 29.4 degrees recorded at the North Peace Airport was 0.5 degrees hotter than the previous record of 28.9 degrees, which dated back to 1982.Dawson Creek meanwhile recorded a high of 29.8 degrees, which was 0.2 degrees higher than the last record, which also dated to 1982. Kohanyi explained that Environment Canada issued the first severe thunderstorm warning at around 6:45 p.m. for a thunderstorm near Chetwynd that began moving in a southeasterly direction.Another warning was issued for a thunderstorm that formed over East Pine and moved into the Dawson Creek area shortly after 9:00 p.m.A map of lightning strikes recorded over the B.C. Peace Region on Sunday. Photo by Environment CanadaIn total, Kohanyi said that there were approximately 7,000 lightning strikes recorded over the B.C. Peace Region during the course of the storms, which lasted over six hours and finally moved over Alberta at around midnight.A lightning bolt strikes near Pouce Coupe on Sunday evening. Photo by Alistair McInnisDawson Creek bore the brunt of the storms, as 20.6 millimetres of rain was recorded at the Dawson Creek Regional Airport. Of that, Kohanyi said 13.2 millimetres fell in just one hour, while wind gusts peaked at 65 kilometres per hour.In contrast, the North Peace Airport weather station only recorded 2.4 mm of rain and wind gusts of 57 km/h.A map of lightning strikes recorded over Western Canada. Photo by Environment CanadaKohanyi said that an upper-level trough will be moving down from the Fort Nelson area throughout the day, meaning showers or thunderstorms are once again a possibility over Northeast B.C. today.