Returning to teaching after a short break is always easier than after a long(er) one. I'll say no more about my classes for now except that my performance of John Cage's 4'33", which I improvised on/using my computer (projecting the keyboard onto the hanging screen), and 
followed by giving students a double-sided copy featuring the first two versions of the score (cf. below) on one side and Cage's original commentary about the piece, along with a series of questions I sought to have the students answer at that moment and without a lot of thought, appeared to go over well. It also was the first musical performance I've given since adolescence (band).
What a quarter this ought to be.
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Speaking of conceptual art performances, I would have paid double to see this particular Marina Abramovic performance at the Met: what began this past Saturday, March 27, 2010, as another day of Abramovic's reprise of her marathon sitting-still-in-silence performance, "The Artist Is Present," turned into something quite different, when a young woman wearing her hair in a black knot over her shoulder, just like Abramovic, and dressed in a long blue caftan, like Abramovic, took her place across from Abramovic and, to the bemusement, awe, consternation, and surprise of other attendees, proceeded to mirror Abramovic's performance with a remarkable one of her own. She did not speak, she did not move, she did not nod off or rise to use the bathroom or anything else: for the rest of the day, she matched Abramovic's presence with her own, leaving only when the gallery closed and guards politely ushered her out.
