In October 2025, Kate started a PhD in choreographic practice at Central Saint Martins (UAL) and London Contemporary Dance School (The Place). Her research is funded by Techne. Inspired by Manning’s work on minor gestures, she will investigate how to create choreographic material with and from affect, and how to use choreographic structures to track the workings of affect in our bodies.

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The project is an attempt to bring out the 'inner noise' of the body. The term ‘inner noise’ is, on one level, quite literal. It means sound. Kate's choreographic practice includes extensive voicework, and allows the physical matter of the body to affect the vocal sound produced. But the project also aims to use voice-body somatic practice to make the “micropolitical background noise” of affect (Closs-Stephens 2022, 38) audible. 

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The research will be conducted through a series of (solo and group) choreographic experiments using voice, body and text. As an artist-researcher, Kate believes that working at the interstices of existing forms opens spaces and trembles the lines that “articulate how experience can come to expression” (Manning 2016, 7). She the project will not only generate new knowledge about how affective politics are experienced in our bodies, but that working with affective dimensions of voice will generate “new ways of having or being a body” (Connor 2000, 35).

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Kate has previously worked as an artistic research fellow on practice-research projects The Shape of Things to Come and Embodying the Voice with AI, led by Diana Neranti and Replica Institute, Berlin.