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Amy gives talks, workshops, and performances at galleries, venues, and universities. Recent live events with musical elements included BLOOD IN THE FOREST at the William Morris Gallery (April 26th 2018) and her gig with Sylvia Hallett and Erland Cooper at Old St. Pancras Church (May 24th 2018), launching Cooper's new instrumental album of Orcadian bird songs, Solan Goose, with Amy's new pieces about migratory birds, drawing on histories of bird observation and sea-bird ballads such as Nólsoyar Páll's Fuglakvæði. She has also occasionally been involved in live singing performances, including as part of the heterophonic singing ritual in Laura Cannell's Modern Ritual show (above, at LSO St Luke's 2018), as well as at Le Guess Who? Festival (2016) and on the TV channel VPRO at Bimhuis Amsterdam. She has worked with musicians including Alex Neilson and Josephine Foster (left, a performance of Josephine Foster's settings of Emily Dickinson poems.)

She is an experienced film, exhibition, and events curator (see alternate pages on this site for her cinema PASSENGERFILMS, her exhibition Time, The Deer, is in the Wood of Hallaig, or her Wellcome Trust film scoring festival Liar Lyre). She has been running regular film panels at venues such as Hackney Picturehouse, Genesis Cinema, and Shortwave Cinema since 2011, when she was the Special Events Co-Ordinator for the first national UK Green Film Festival. She also works on site-specific events, including the White Rose project she ran, Hearts of Oak, which involved curated events and cultural/creative industries workshops taking place at small and independent woodlands and British forests in 2015-2016. In 2018 she is particularly focusing on developing the public project Nature's Nickelodeons, producing immersive and live cinema events provoking and changing the public conversation around ideas of space, geography, nature, and nonhuman others. These events draw on and de-construct the nature documentary as a hybrid science/fiction format, and as produced, invented, and re-invented by diverse screening practices: mobile cinema; live music; 3D spectacles; DIY cinema; national television events; live-streaming; and even the history of zoo cinemas and theme parks. She is also available for teaching workshops about these methodologies or in her role as an Ambassador for Public Engagement (with the National Co-Ordinating Centre for Public Engagement), including her workshop for the Royal Geographical Society, Re-Animating Nature as Live Cinema (April 19th 2018).

In 2018 she is running a Leverhulme research event series related to the idea of lexicons/glossaries and environmental futures, which began with Key Words: Coming To Terms With The GeoHumanities (public seminar, 20th Feb) and is followed by Weasel Words: Natures, Definitions, and How to Love Your Monsters (public symposium and performances/screenings) and the interactive event Key Words Circus; for further information, or to identify a difficult word or term which you would like to present for discussion or in a performance format, please email Survival; resilience; decoy; alien; ...which term would you deconstruct anew, and how? Resources for this event series include the mini-essays of Bataille's Critical Dictionary, Raymond Williams' Keywords, the Living Lexicon for the Environmental Humanities, the Lexicon for an Anthropocene Yet Unseen, and Impossible Words, each of which take a critical and discursive approach to the shifting terms of environmental futures.