Public Events in Late 2018:
Sept 26th: Science Fiction / Natural History, The Horniman Museum, 2pm
October: UK tour with Delphine Dora (dates/cities to be listed)
Nov 6th: Site Plot Hole: Art and Environment writing, Senate House, London
Nov 10th: Critical Ecologies: Hacking the Nature Documentary, Goldsmiths University
Nov 18th: NATURE'S NICKELODEONS, Live on Stage @ IDFA Amsterdam
Amy works in live cinema / curating and gives talks, workshops, panels, Q&As and performances at galleries, cinemas, and universities. She also performs with musicians, including live collaborations with Sylvia Hallett, Ivor Kallin, David Chatton Barker, Josephine Foster, Sam McLoughlin, Anna Ridler, Laura Cannell, Alex Neilson, Douglas MacGregor, Iris Garrelfs, Douglas Benford, Delphine Dora, and Nathan Walker. Recent events with musical elements included 'We Spiders', a live performance with Ivor Kallin of cobwebs as musical scores in Tottenham (July 17th 2018), BLOOD IN THE FOREST at the William Morris Gallery (April 26th 2018), and her gig with Sylvia Hallett and Erland Cooper at St Pancras Old Church, launching Cooper's new instrumental album of Orcadian bird songs, Solan Goose, with Amy's pieces about migratory birds, drawing on histories of bird observation and sea-bird ballads such as Nólsoyar Páll's Fuglakvæði. She has occasionally been involved in live singing performances, including as part of the heterophonic singing ritual in Laura Cannell's Modern Ritual show (left, 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 given a number of public workshops on sonic cinema and nonhuman ecologies, including Let's Do It Like They Do on the Discovery Channel, a presentation for the CHASE consortium Sensible Cinema (Jan 19th 2018), and Sensual Landscapes (16th Feb, 2018) as part of Sam Hertz's climates of sound residency at The Tetley, Leeds.
She is a regular 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), and has been running 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 internationally touring Nature's Nickelodeons. 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 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), and a forthcoming film masterclass at Goldsmiths for the new Critical Ecologies network.
In 2018 she ran a Leverhulme research event series related to the idea of lexicons/glossaries and environmental futures, Key Words: Coming To Terms With The GeoHumanities (public seminar, 20th Feb); for further information on the future of this project, or to identify a difficult word or term which you would like to present for discussion or in a performance format, please email firstname.lastname@example.org. Survival; resilience; decoy; alien; ...which term would you deconstruct anew, and how? Resources for this event series included 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.