Dr. William Klugh Connor III

Curriculum Vitae


Will Connor is a Texas-based scholar and percussionist devoted to experimenting and composing using unconventional instruments and techniques. Rethinking how to generate percussive and acoustic sounds with a goal of reversing the aural expectations of the instruments, attempting to create electronic sounds with acoustic devices, et cetera, Connor plays drones and sustained tones along with truncated, abrupt sounds. He freely draws upon experimental approaches to aesthetics, such as Italian Futurism, Gothic Futurism, and Dadaist sensibilities to create textural soundscapes and industrial sonic explorations, performing on household objects and home-made devices, including pot lids, grill hoods, sheet metal, springs, shelf brackets, and bicycles, as well as traditional and ethnic percussion. Connor primarily performs solo dark ambient composed and improvised material under the moniker Seesar, but also works in Gothic, jazz, rock, traditional-fusion, and modern classical contexts. Connor has played with a long list of sound artists, including Lol Coxhill, Damo Suzuki, Steve Beresford, John Russell, Anthony Donovan, Sandeep Mishra, P.A.S. Musique, The Centre for Transgressive Behaviours, and many others; and most recently playing with Shanghai sound artists Silence Wave and movement artists Dead Time Factory. He is currently a lecturer at Texas A&M University College Station or researching Lovecraftian Futurist composition, performance, and musical instrument construction.


Ph.D. Ethnomusicology

Royal Holloway University of London 2012

M.A. Ethnomusicology

The University of Hawai’i at Manoa 2007

Post-Bac Studies Ethnomusicology

North Carolina State University 2001

B.S. Physics (Acoustics / minor Music)

Clemson University 1988

language studies programs

University of Virginia 2005 - Tibetan
Hainan University, China 2004 - Mandarin

Percussion performance program

Furman University 1983

Scholarly Interests

Lovecraftian Futurist performance and composition, Musical Instrument Construction as Culture, Improvisation, experimental sonic performance, social commentary and sound, sonic representation of the imaginary, agency and sound, Actor-Network Theory, Monster Theory, sound design