Josef Woodward (Los Angeles Times) wrote of Marc Ainger's work: "Closing the program with an invigorating coda, Ainger's Spoonbenders was at once a compelling curiosity and a medium-oriented send-up (it's helpful to note that Ainger is, amongst other things, an audio engineer - a timbre editor).
Flutist Stimson once again provided the live sound source. Sultry, smart-alecky flute and voice parts were refried by Ainger's machinery - but with a refreshingly rough-hewn quality. Disjointed shifts in the sound spectrum were reminiscent of Godard's jerky jump-cut approach to film editing - viewing events from different angles and different temporal attitudes. Pregnant pauses spilled into sudden densities, and the jumbled whole was graced with a sort of ironic suspense factor..."

 

Marc Ainger (USA) is a composer and sound artist who works with concert music, computer and electronic sound, film, dance, and theater. He is interested in the relationships between the real and the imagined - the ways in which the visceral world of sound and sound production inform our imagined worlds of sound, and the ways our imagined worlds, in turn, inform our concrete experiences. Performances of Ainger's works have included the New York Philharmonic Biennial; the GRM; the Royal Danish Ballet; CBGB; Late Night with David Letterman; the Goethe Institute; the American Film Institute; Guangdong Modern Dance; the Palais de Tokyo (Paris); FolkwangWoche Neue Musik (Essen); Gaggego (Gothenburg); the Joyce Theater (New York); and New Circus artists. Awards include the Boulez/LA Philharmonic Composition Fellowship, the Irino International Chamber Music Competition, Musica Nova, Meet the Composer, the Esperia Foundation, and the Ohio Arts Council. As a sound designer he has worked with the Los Angeles Philharmonic, the Olympic Arts Festival, Pacific Coast Soundworks, and the Waveframe Corporation, among others.