He hasn't stopped. He still comes to CalArts (along with other destinations), and he is still obsessed with involving young musical experimenters — sometimes very young — in music making. I play with some of his interactive "making music" programs aimed at restoring the notion of children as active participants in the creative process; I learn a lot from them.
At the CalArts concert last week there were some of his full-of-beans early works for instruments and computer — Axolotl for solo cello and After the Butterfly for solo trumpet and instrumental octet. Erika Duke-Kirkpatrick was again the solo cellist, as she had been in 1981. Subotnick sat at a Mac laptop, no larger than this page, and pressed a button or two to release the feverish, ongoing energy of the tape piece Until Spring. The composer Nicholas Chase produced a kind of music by playing some of the old Nonesuch and Sony LPs of Subotnick's music from way back when, and monkeying around with the turntables to create a distorted collage of some of the great moments. I'm not sure I understand this new turntable art form; if I ever do, it will probably be under Mort's guidance. That's the way it has always been.