Kate Hammer

Relation to CoreWave
I met Robert thanks to a help wanted ad he'd posted in the corridors at New York University in 1992. It was April, I was finishing year 1 of drama school and was bored silly. Robert was working days for a production company called Teale Productions and looking for a part time administrator/intern to work with him during off hours on 117 Productions and his plans for a tv documentary on health and consciousness. Robert and 117 were just what I was looking for! We worked together, hung out, became buddies and began organizing many of the thoughts on paradigm shifts, media and consciousness which have grown into CoreWave. I know Robert has a pair of boxer shorts with glow in the dark bananas on them! And now--so do you! At the end of 1992, I left drama school; in June 1993 I moved to London. Robert stayed at Teale until 1995, when he left New York to move back to Tucson. With him moving west and me east, one might have thought that our collaboration would fade. But that's only if you don't know Robert! Robert's tenacity and loyalty are features he himself forgets, but they are part of what has allowed him to develop the CoreWave network. Robert's core wave question around Bill Rabinovitch's paintings is: are we most present when we are absent? If I look at my own situation in relation to CoreWave, with half a continent and a wide ocean separating me from CoreWave's office, I would have to say that in my absence, I am still present. Maybe not most present -- but more than enough...I kinda groove on typing rather than talking!

Personal Bio
I don t like writing bios, but here goes. I studied semiotics at Brown in the 1980s and earned a BA. I trained as an actor at two drama schools and with a number of (far more inspiring) private teachers. For a time I was an Artistic Associate of a small professional company in Washington DC called The No-Neck Monsters Theatre Company. The No-Necks commissioned me to write a book about theater and social justice, and the research for that book changed my life, drawing me away from drama school and into research. The company went bankrupt and the book never happened, but its seeds live on and grow in strange and exciting ways. Right now I am curling my shoulders and biting my lip struggling to finish my doctoral thesis in theater studies here in Britain. My PhD research has extended the No-Necks inquiry and developed a theoretical framework in which my old research in the USA might be developed. My muses (in the PhD, at least) include Walter Benjamin, Rustom Bharucha, Roy Bhaskar, Augusto Boal, Pierre Bourdieu and Alan Read. The late Paul Walker, master of theater games, still inspires me. In 1992-94, I did a bit of theater journalism and wrote a bio for kids on Tina Turner. Before that, I wrote some plays. And acted. I've also worked as a massage practitioner, a nanny, a health food store cashier, and in sundry offices on various keyboards and telephones. Now I live in the eaves of an old Victorian church in London's East End. My husband Christopher lives here too. Christopher was the magnet that drew me from the East Village of NYC here to England. When I met Chris, he had never used a computer... I think of the two of us and never cease to wonder at how flexible we humans may be! My most beloved object right now is the mountain bike Chris gave me for my 30th last December. I'm not one for mountains (prefer the ocean) but it's great for citystreet potholes and cobblestones! My biggest worry is whether I will get a lecturing position when the Ph.D. is done. My biggest hope is that a new group I have co-founded, American Theatre Research, will succeed in its first proposed project, to stage a London fringe production of a wonderful American play, whose title I will say only when we've secured the rights.

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  • Move 5: The Cunning Man

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