Click me!Excellent, you figured it out! Welcome to the website.Hunter Ewen is a dramatic composer, educator, and multi-media designer. During the day, Dr. Ewen teaches students strategies for digital creativity. At night, he composes, solders, choreographs, and videographs solo and collaborative projects around the world.His works rail against the faded borders that separate art from science, music from sound, and meaning from meaninglessness. Ewen values frenzy. He buzzes and sneaks and desperately loves. His work is soothing, startling, virtuosic, and absurd. It grooves with dense, layered textures. It lusts for yowls and yips and wails and squeals. For screams that masquerade as art. For clamor and deviance. His compositions swing from chandeliers.
Slow and Pretty ThingsSea-foam cotton undertowsOur last forgettable conversation.Her wholeness struckOut across delicate, bobbing adventures--Soft curled tailsTo buoy a grandson. In meantimeShe surfaces, recognizablyAnd we finally speakSlow and pretty things.listen
Boulder Laptop Orchestra (BLOrk) rehearsing Ewen's S:nk - read more
r!p.off/r!p.•n, installation and performance featuring Trimpin. RoboChimes by me!
23.5 million people live in food deserts in the US. For many of these people, fast food restaurants and gas stations are their primary source of food. This severely limits their ability to purchase and consume healthful foods, which leads to pockets of obesity, diabetes, increased risk of heart disease, and other illnesses. And because fast foods are generally less nutrient rich, people tend to consume more calories per meal and become hungry sooner after eating. Hunger Dreams in Flocks is a meditation on the nature of hunger in America. Clusters of communities suffer incredible social, financial, and health hardships because of geographic obstacles to healthy, fresh food. This piece explores the psychological and physiological effects of living in a food desert. The performer uses electronics, attached to his or her thumbs, which trigger and alter musical sounds, video, as well as relevant information about calories consumed by the accompanying performance artist and facts central to the food desert issue.
Shadows lust for signs
Of my disobedience.
I am a mouse.
Faith, by James McLindon - listen to a sample of my original music or watch some clips
Red River Folk TaleI was sixWhen I discovered gravity.On the radio,A cracked voiceRagedOver thunderdrums.The troop forgot to run.My companion swirled,whipped about,And silencedThe grave newsman.I remember the angelOf innocence.He held the tender warriorsIn his desiccated breath.I was elevenWhen I discarded gravity.From above,Red and yellow paintStippledThe bluegrass:Roadside crag.The trail folded along the ridge.The ground lay below,Clipped throughThe blue and orange camalot.Near the bulbous crownOf hemlock treesOn Raven's Rock,My companion wavedA thousand hands:Green and purple salutations.I remember the angleOf incidence.Refracted off the canopy,We doveInto lapping wavesOf fantastical lies.We buzzedAmong our bumbled friends.We loiteredOne hundred yearsAnd did much good.We storytold.We sangLiquid musicTo the clouds,To the Earth.We tradedThe clarity of beliefFor the brume of comprehension.I grew.I was one thousandWhen I saw my companionOn his deathbed,AnesthetizedBy concrete and beautality.The trees festered with reproach.I am dissolve.I asked my companion:How does it end?I remember the anxietyOf incipienceIn his response:The tea has been out in the sun too long,But the horses look mighty fine.Red Rover Folk Tale is a story about my relationship with the natural environment growing up in Kentucky. Both encouraged and dismayed, I grew up surrounded by people that loved and hated the world around them. The piece spans a large period of time and as a result, it showcases a wide stylistic diversity. The mood of the music shifts frequently as it draws from the elation, curiosity, horror, love, and ambivalence I faced in the foothills of the Appalachians.The work is presented in testament to the plea for self sufficiency and personal reliance espoused by fellow Kentuckian Wendell Berry. His poetical style and social message has influenced my music a great deal over the years, and I am using this work as an opportunity to pay homage to Berry's writing. As a tribute to the great naturalists (and generalists) of the 21st century, the music, poetry, and electronic sounds were created at the same time, with the same intent, in the same squeaky old chair. They all drawn from my personal experiences and are presented as a single, unified gesture.My musical themes always carry a personal significance, and the poetry references objects, landmarks, and situations familiar only to myself and those who have visited the Red River Gorge in Kentucky. While the specifics of the poetry are for me alone, the allegorical implications should carry significance for any naturalist, environmentalist, or social idealist. We have all experienced mixed emotions when it comes to our childhood relationship with the natural world, but embracing the inconsistencies and committing to improving our relationship is the best possible path. To summarize my message in a pithy pull-quote, I return again to Wendell Berry, “To cherish what remains of the Earth and to foster its renewal is our only legitimate hope of survival.”
Nothing Suspended. From the “Concert About Nothing” - based on an improvisation and residency with Third Coast Percussion. This video and audio was projected onto a visual art installation created by Hunter Ewen and Kellie Masterson, pictured below, as part of the John Cage Centennial celebration at CU-Boulder.