the foundation of my practice, regardless of genre, is Process, combining the Duchampian / Dadaist notion of the ‘Found / Finding’,
the Gysonian notion of the Cut-Up and the Indeterminacy of Cage.
from 1959-65 i formally studied percussion, with my first professional engagement in 1964
1964 also saw me begin writing Poetry and exploring 2 and 3 dimensional Art forms
in 1963 i began my life-long relationship with World religions and esoteric systems.
from 1976-79 in San Francisco i studied with Rabbi J. Winston, Hatian Hogun Rico Joves and was employed by the Society for the Preservation of Occult Consciousness
from 1969-70 i studied at CalArts with poet / fluxus artist Emmett Williams,poet Michael S. Bell and writer/critic Sue-Ellen Case.
under the influence of DADA, Futurism, and fluxus, i began producing Visual and Sound Poetries from 1970-84 with exhibitions, (including a 1 man show at Beyond Baroque Foundation), publications and performances produced under the name S.WEISSER.
since 1978 i have been presenting solo performances of acoustic phenomena using percussion instruments of my own design in over 200 cities in over 25 countries.
since 1980 i have released over 75 cd’s (solo & collaborative works combined).
one of the founders of so-called Industrial Music/Art Movement, codified in the Industrial Culture Handbook published by RE/search in 1983.
2011 a scored work, No Time, but the Presence, commissioned by the Phoenix Ensemble of Basel.
2010 begin producing Visual and Sound poetry again, in video format
in september Atavistic Worldwide released East African Nocturne, the collaboration with sound artist Chris Watson that i processed, edited and mixed
the premiere performances took place 10-11 september at the South London Gallery
2009 develop EyEar Events, a/v project featuring real-time projection of liquid based Cymatics
go to FAUSTudios to produce the second disc of the two cd Faust package, released by klangbad as Faust is Last
2007 media artist Ellen Zweig begins a long term project documenting my work
first trip to FAUSTudios to begin collaborating with Hans Joachim Irmler -- i return in 2008 and 2009 to complete the project
a cd, entitled From the Frozen South, was released by Atavistic Worldwide in fall of 2009
2003 out of retirement I returned to Europe, recording/performing with
(among others);
0ren Ambarchi, Konrad Becker [as PSYOPS SOUND SYSTEM], John Duncan, Hans Jachim Irmler [as FAUZ’t],
David Jackman/0rganum, Jason Kahn, KKNULL, Larsen, Franciso Lopez, Merzbow, BJ Nilsen,
Stephen O’Malley, Osso Exotico, Charlemagne Palestine, PITA, Boyd Rice, the.bänd, Bryan Lewis Saunders,
Kasper T.Toeplitz, Luc van Acker, Nico Vascellari [as Pslayer], Chris Watson, and John Zorn
1994-2003 i returned to LA for a project which was delayed due to the earthquake which occurred 2 days after i arrived
in march my mother was diagnosed with a terminal illness -- i retired from artistic endeavors and attended to her until her death in April 1997
with three exceptions i remained in retirement until 2003
1992 a first book, Rhythmajik: practical uses of number, rhythm and sound, published by Temple Press UK.
UK music magazine The Wire included my LP BUST THIS! (released in 1988) in its’ list of the 50 best percussion records.
1990-2 work with Dutch house musician DJ DANO. We released tracks in both 12” EP and CD compilation format in Europe.
1991 One Foot in the Grave, an audio-text-pictorial retrospective of my work from 1968-90 was released by Touch UK.
1989 i became involved with Elizabethan Drama, two of my plays, based on King Lear, Wheels on Fire #'s1 & 2,
were published in 1990 in Ratio 3, Temple Press UK.
1988 i began providing sound-tracks for film installations by the Dutch artist Christine Koenigs, one of which, Suzanne en het Bad,
was purchased by the Stedelijk Museum A'dam.
1987 in nov-dec i began producing my YANTRA series of drawings, 15 of which were purchased in 1990 by the Amsterdam Tattoo Museum
examples were also used as the cover art for the initial release of the Direction ov Travel cd and the Spirit Transform Me cd.
1986-90 guest teacher; Theater School for New Dance Development, A'dam
1985 began presenting YANTRA TANTRAS, sound works produced wtih the audience in the total dark
1984-90 i collaborated with Viennese Media artist Konrad Becker on multiple projects in both Europe and Japan
i met Kain, founder of The Last Poets, and we began performing together in A'dam
during this period i also worked (performance/recording} with three of the major European MultiMedia organizations:
The Bow Gamelan, La Fura dels Baus, and Psychic Television.
1982 i left USA to reside in Amsterdam
1980 Fetish Records of London released Shake Rattle and Roll – a video documentation of a live performance which
was the first "music video" ever commercially released
in february I returned from my first trip to NYC and launched uns, a text/sound project with a no-wave edge.
it's second performance was documented on the Live at Target release by Subterranean SF. there followed sporadic
uns performances until 1984.
1979 in LA i begin collaborating with performance/media artist Johanna Went who i continue to work with
in NYC i began to collaborate with Roberta Friedman and Graham Weinbren on The Erl King.
completed in 1984 it was the first digital Interactive Art work ever produced (2 laser-discs and a touch-sensitive monitor)
and has since been acquired by the Guggenheim Museum for its permanent collection.
1978 begin using Z’EV as my ‘brand’ name.
the Gysonian notion of the Cut-Up and the Indeterminacy of Cage.
from 1959-65 i formally studied percussion, with my first professional engagement in 1964
1964 also saw me begin writing Poetry and exploring 2 and 3 dimensional Art forms
in 1963 i began my life-long relationship with World religions and esoteric systems.
from 1976-79 in San Francisco i studied with Rabbi J. Winston, Hatian Hogun Rico Joves and was employed by the Society for the Preservation of Occult Consciousness
from 1969-70 i studied at CalArts with poet / fluxus artist Emmett Williams,poet Michael S. Bell and writer/critic Sue-Ellen Case.
under the influence of DADA, Futurism, and fluxus, i began producing Visual and Sound Poetries from 1970-84 with exhibitions, (including a 1 man show at Beyond Baroque Foundation), publications and performances produced under the name S.WEISSER.
since 1978 i have been presenting solo performances of acoustic phenomena using percussion instruments of my own design in over 200 cities in over 25 countries.
since 1980 i have released over 75 cd’s (solo & collaborative works combined).
one of the founders of so-called Industrial Music/Art Movement, codified in the Industrial Culture Handbook published by RE/search in 1983.
2011 a scored work, No Time, but the Presence, commissioned by the Phoenix Ensemble of Basel.
2010 begin producing Visual and Sound poetry again, in video format
in september Atavistic Worldwide released East African Nocturne, the collaboration with sound artist Chris Watson that i processed, edited and mixed
the premiere performances took place 10-11 september at the South London Gallery
2009 develop EyEar Events, a/v project featuring real-time projection of liquid based Cymatics
go to FAUSTudios to produce the second disc of the two cd Faust package, released by klangbad as Faust is Last
2007 media artist Ellen Zweig begins a long term project documenting my work
first trip to FAUSTudios to begin collaborating with Hans Joachim Irmler -- i return in 2008 and 2009 to complete the project
a cd, entitled From the Frozen South, was released by Atavistic Worldwide in fall of 2009
2003 out of retirement I returned to Europe, recording/performing with
(among others);
0ren Ambarchi, Konrad Becker [as PSYOPS SOUND SYSTEM], John Duncan, Hans Jachim Irmler [as FAUZ’t],
David Jackman/0rganum, Jason Kahn, KKNULL, Larsen, Franciso Lopez, Merzbow, BJ Nilsen,
Stephen O’Malley, Osso Exotico, Charlemagne Palestine, PITA, Boyd Rice, the.bänd, Bryan Lewis Saunders,
Kasper T.Toeplitz, Luc van Acker, Nico Vascellari [as Pslayer], Chris Watson, and John Zorn
1994-2003 i returned to LA for a project which was delayed due to the earthquake which occurred 2 days after i arrived
in march my mother was diagnosed with a terminal illness -- i retired from artistic endeavors and attended to her until her death in April 1997
with three exceptions i remained in retirement until 2003
1992 a first book, Rhythmajik: practical uses of number, rhythm and sound, published by Temple Press UK.
UK music magazine The Wire included my LP BUST THIS! (released in 1988) in its’ list of the 50 best percussion records.
1990-2 work with Dutch house musician DJ DANO. We released tracks in both 12” EP and CD compilation format in Europe.
1991 One Foot in the Grave, an audio-text-pictorial retrospective of my work from 1968-90 was released by Touch UK.
1989 i became involved with Elizabethan Drama, two of my plays, based on King Lear, Wheels on Fire #'s1 & 2,
were published in 1990 in Ratio 3, Temple Press UK.
1988 i began providing sound-tracks for film installations by the Dutch artist Christine Koenigs, one of which, Suzanne en het Bad,
was purchased by the Stedelijk Museum A'dam.
1987 in nov-dec i began producing my YANTRA series of drawings, 15 of which were purchased in 1990 by the Amsterdam Tattoo Museum
examples were also used as the cover art for the initial release of the Direction ov Travel cd and the Spirit Transform Me cd.
1986-90 guest teacher; Theater School for New Dance Development, A'dam
1985 began presenting YANTRA TANTRAS, sound works produced wtih the audience in the total dark
1984-90 i collaborated with Viennese Media artist Konrad Becker on multiple projects in both Europe and Japan
i met Kain, founder of The Last Poets, and we began performing together in A'dam
during this period i also worked (performance/recording} with three of the major European MultiMedia organizations:
The Bow Gamelan, La Fura dels Baus, and Psychic Television.
1982 i left USA to reside in Amsterdam
1980 Fetish Records of London released Shake Rattle and Roll – a video documentation of a live performance which
was the first "music video" ever commercially released
in february I returned from my first trip to NYC and launched uns, a text/sound project with a no-wave edge.
it's second performance was documented on the Live at Target release by Subterranean SF. there followed sporadic
uns performances until 1984.
1979 in LA i begin collaborating with performance/media artist Johanna Went who i continue to work with
in NYC i began to collaborate with Roberta Friedman and Graham Weinbren on The Erl King.
completed in 1984 it was the first digital Interactive Art work ever produced (2 laser-discs and a touch-sensitive monitor)
and has since been acquired by the Guggenheim Museum for its permanent collection.
1978 begin using Z’EV as my ‘brand’ name.
