The Neurocultures Collective formed in 2020 and collaborated with Steven Eastwood to co-create STIM CINEMA and The Stimming Pool. The Neurocultures Collective comprises:
Sam Chown Ahern, a visual artist working with drawing, illustration, bookworks, photography and sound. Sam was also the co-host of the CH4 documentary Are You Autistic?;
Lucy Walker, a member of the Project Artworks Collective, working with costume and puppet making, drawing and small set building, all involving alter egos;
Georgia Kumari Bradburn, a short filmmaker whose work focuses on metamorphosis and transformation, and an embodied autistic phenomenology of cinema;
Robin Elliot-Knowles, an associate artist of the Project Artworks Collective, whose practice includes painting, drawing, and graphic-novels, considering themes of intersectionality, post-colonialism, and transgender (Robin is also the curator of the B-Movie Fan Club, a monthly screening at Hastings Electric Palace);
Benjamin Brown, a film programmer/curator whose creative practice involves drawing, video, and photography, with a particular focus on sensory ethnography (Ben also runs a film club called Citizen Autistic).

Steven Eastwood is an award-winning artist-filmmaker whose work often involves participatory and co-creation methodologies. His recent films and moving image artworks include The Stimming Pool (2024); STIM CINEMA (2023); ISLAND (2018), THE INTERVAL AND THE INSTANT (2017); BURIED LAND (2010); The Hiss of the Blow (2009). Steven is Professor of Film Practice at Queen Mary University of London.

In 2018, The Blackwood presented Steven Eastwood’s THE INTERVAL AND THE INSTANT in the 5-part exhibition series Take Care, curated by Letters & Handshakes (Greig de Peuter & Christine Shaw). Steven’s participation in Take Care included “The Interval and the Instant: Inscribing Death and Dying,” a conversation with Dr. Naheed Dosani, Dr. Jenny Lau, and Dr. Kim Wedger as part of the the 3-day event Running with Concepts: The Empathic Edition.

Christine Shaw is Director/Curator of the Blackwood Gallery and Associate Professor of Curatorial Studies in the Department of Visual Studies at the University of Toronto Mississauga, a Research Fellow & Visiting Scholar in Art, Culture Technology (ACT) at the Massachusetts Institute of Technology, and Curatorial Research Fellow, Andy Warhol Foundation for the Visual Arts (2021–2023).

Shaw’s work convenes, enables, and amplifies the transdisciplinary thinking necessary for understanding our current multi-scalar historical moment and co-creating the literacies, skills, and sensibilities required to adapt to the various socio-technical transformations of our contemporary society. She has applied her commitment to compositional strategies, epistemic disobedience, and social ecologies to multi-year curatorial projects including Take Care (2016–2019), an exhibition-led inquiry into care, exploring its heterogeneous and contested meanings, practices, and sites, as well as the political, economic, and technological forces currently shaping care; The Work of Wind: Air, Land, Sea (2015–2023), a variegated series of curatorial and editorial instantiations of the Beaufort Scale of Wind Force exploring the relentless legacies of colonialism and capital excess that undergird contemporary politics of sustainability and climate justice; and OPERA-19: An Assembly Sustaining Dreams of the Otherwise (2021–2029), a decentralized polyvocal drama in four acts taking up asymmetrical planetary crisis, differential citizenship, affective planetary attention disorder, and a strategic composition of worlds. She is the founding editor of The Society for the Diffusion of Useful Knowledge (Blackwood, 2018–ongoing), and co-editor of The Work of Wind: Land (Berlin: K. Verlag, 2018) and The Work of Wind: Sea (Berlin: K. Verlag, 2023).