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Sometimes when I can't sleep and I lay awake at night I hear the sound of centimeters and millimeters trying to escape the bodies of the architects. Finally when I do drift off I feel the sensation of a fuzzy blur closing down upon my eyelids. I do not know if it is in my deep sleep, or in my waking dreams, but sometimes that fuzzy blur forms itself into shapes and coloured lights that slip and slide across the ceiling – gently and gracefully at first, until those pointed corners become more jagged as they jangle and crash against the edges and corners of the ceiling. Like a Spirograph wheel the circular shape grips the triangle, clinging to its every millimeter as it rotates and spins around those shifting angles.
* © Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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I rubbed my eyes and looked again. It appeared gradually on the page as I tapped the keys. In a purple haze, floating a little from left to right, and then left again before settling – those letters O-K-W-A, spelling out the unmistakable OKWA. I had called out to OKWA many times after those restless nights – but to no avail – until now. But why here, and why now? And why appear behind those other letters and other words. I couldn't help but think that it must be playing a game with me, teasing me, and attempting to provoke me. I tried to ignore it and continued to tap my fingers against the keys, but my words began to wobble and mistakes began to appear. I rubbed my eyes and moved myself closer to the page, staring harder and deeper into the haziness. The purple 'K' and the purple 'W' darted suddenly to the left and suddenly to the right before colliding back against one another with a crashing noise like an almighty clap of thunder. Startled by the unexpected commotion ensuing before my eyes and ears I began to tap faster and harder as I tried to catch the shifting O-K-W-A by pinning it down against the page with my letter strikes.
* © Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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I had an idea to see if I could chase the thing out. I don't know why, or how, but I thought that if I spent long enough measuring and drawing the space and getting everything as accurately documented as I could that maybe, somehow I could revert back to that time and space of the architects, and that that thing – the 'it' – would appreciate the attention once more and might consider settling down and putting an end to its endless fussling and wrestling. It didn't work and I think I have made things worse. My sleep is getting more and more broken, and my dreams are more and more troubled. I wake in the mornings and I can't focus on the angles or the edges in front of and around me, I crawl from my bed exhausted and I start measuring again.
* © Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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OKWA, KWAO, WAOK, AOKW, OKWA, KWAO, WAOK, AOKW

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OKWA, KWAO, WAOK, AOKW, OKWA, KWAO, WAOK, AOKW

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Is there anybody out there?
Sometimes when I can't sleep and I lay awake at night I hear the sound of centimeters and millimeters trying to escape their bodies. When it won't stop I put my hands to my ears and I rock my head back and forth. I begin to feel strange sensations in my own body, it begins in my feet, like pins and needles, then it moves up my legs and to my chest until it becomes too much to bear. When I can take it no longer I cry out and I scream, and I try to invoke OKWA to make it stop, to make it go away, to take this thing, these noises, those movements away from me and out of this house.
* © Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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There were stories about the architects who built the house. They worked long hours for many nights and many weeks, tweaking and refining the lines, edges and alcoves of the house. We heard tales of architects trapped within their plans, unable to lift their hands from the rules and measures they worked with. The longer they worked, the more attached they became to it all. Eventually, unable to separate the protractors and right angles from their bodies, the tools began to work themselves under their skin and move around inside of them. Sometimes when I can't sleep and I lay awake at night I hear the sound of centimeters and millimeters trying to escape their bodies.
* © Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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There were stories about the architects who built the house. They worked long hours for many nights and many weeks, tweaking and refining the lines, edges and alcoves of the house.
* © Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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Everything started to spin – the walls, the floors, the stairs – everything began to blur and hover above and around me. Things began to move, shift and dislocate. The room started to follow me. Our beds rattled and our covers began to rise and levitate. I crawled from the covers and made my way to the balcony. The railing started to swing violently back and forth as I clung to it in fear.
* © Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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* Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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1:1 scale reproduction of The Dollhouse manifests in Belfast on the 18th November 2018.

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OKWA can you hear me?
Is there anybody there?
OKWA?
* Susan MacWilliam, Séance of the Seventies, 2018, for The Dollhouse *

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My visit to The Dollhouse (5–7th Nov 2018)

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My visit to The Dollhouse (5–7th Nov 2018)

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Everything started to spin – the walls, the floors, the stairs – everything began to blur and hover above and around me. Things began to move, shift and dislocate. The room started to follow me. Our beds rattled and our covers began to rise and levitate.

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My visit to The Dollhouse (5–7th Nov 2018)

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My visit to The Dollhouse (5–7th Nov 2018)

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Everything started to spin – the walls, the floors, the stairs – everything began to blur and hover above and around me. Things began to move, shift and dislocate. The room started to follow me.

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My visit to The Dollhouse (5–7th Nov 2018)

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My visit to The Dollhouse (5–7th Nov 2018)

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Everything started to spin – the walls, the floors, the stairs – everything began to blur and hover above and around me.

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My visit to The Dollhouse (5–7th Nov 2018)

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My visit to The Dollhouse (5–7th Nov 2018)

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Everything started to spin – the walls, the floors, the stairs – everything began to blur and hover above and around me.

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My visit to The Dollhouse (5–7th Nov 2018)

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My visit to The Dollhouse (5–7th Nov 2018)

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Everything started to spin – the walls, the floors, the stairs – everything began to blur and hover above and around me.

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Ninety years ago, in October 1928, Virginia Woolf delivered two lectures at Cambridge University urging female students at Girton and Newnham colleges to establish a "room of one's own". Woolf read her paper to the Arts Society at Newnham and to the ODTAA literary society at Girton.

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Recreation of the beds that my sister and I occupied in our shared bedroom in the 1970s. These models featured in the sculpture House, 1996 (subsequently the house went AWOL 1999/2000) which was a recreation in MDF of my first family home.

House was made for the House Style, 1996, an exhibition curated by Michael Wilson (current artist in residence upstairs in the attic). House Style took place at The Bedroom, 55 Greenore Street, Belfast from 19th – 21st April 1996. This space was also Michael's home.

Artists exhibiting in House Style were: Nick Brierley,  Catherine Gauld, Daniel Jewesbury, Ruth Jones, Susan MacWilliam, Dougal McKenzie, Emma Neilson, Mark Orange,  Susan Philipsz, Peter Richards (current artist in residence next door in Bedroom 2), Dan Shipsides, Theo Sims, Craig Staff, Matthew Walmsley, Lee Whitehurst, Mike Wilson.

Like ghosts from another time and place these Plasticine beds will accompany me when I travel to be physically in residence later this year at The Dollhouse.

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But how?

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'What would you do if a piece of furniture suddenly slid along the floor in front of your eyes?'

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'What would you do if a piece of furniture suddenly slid along the floor in front of your eyes?'

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Guy Lyon Playfair, This House is Haunted – An Investigation of the Enfield Poltergeist. Book Club Associates, 1980. Page 7.

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CAN WE EXPLAIN THE POLTERGEIST? A R G Owen

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CAN WE EXPLAIN THE POLTERGEIST? A R G Owen

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Garrett Publications, 29 West 57th St, New York, N.Y. 10019
Winner of the 1963 Parapsychology Foundation Award for Original Treatises on Parapsychology

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Book - Can We Explain The Poltergeist- - Garrett Publications - Back

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CAN WE EXPLAIN THE POLTERGEIST? A R G Owen

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CAN WE EXPLAIN THE POLTERGEIST? A R G Owen

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Garrett Publications, 29 West 57th St, New York, N.Y. 10019
Winner of the 1963 Parapsychology Foundation Award for Original Treatises on Parapsychology
* Is a poltergeist trying to communicate when it raps on walls?
* Is it true that some unusual people can set houses on fire through an influence from their bodies?

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Book - Can We Explain The Poltergeist- - Garrett Publications - Front

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Poltergeist 1960
Vol 8, No 2, Spring 1960
A publication of Creative Age Press (Eileen J Garrett)

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The Yellow Wallpaper 1892

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Investigation of a space: Bedroom 3. I am also wondering if the Living Room is occupied?

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Investigation of a space: Bedroom 3. I am also wondering if the Living Room is occupied?

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Stereoscopic portrait of Dr William G Roll (1926–2012)
© Susan MacWilliam
Poltergeist investigator Bill Roll is photographed in his study at his home in Atlanta, Georgia while being recorded for his role in Susan MacWilliam's 2009 experimental film F-L-A-M-M-A-R-I-O-N.

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The Haunting, 1963, Directed by Robert Wise

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The Haunting, 1963, Directed by Robert Wise

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Adapted by Nelson Gidding from the 1959 novel The Haunting of Hill House by Shirley Jackson.

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Cover leaf notes, The Sense and Nonsense of Prophecy, by Eileen J Garrett, 1950, Creative Age Press

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Psychic Edit | 2008 | 14secs looped | Susan MacWilliam

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Psychic Edit | 2008 | 14secs looped | Susan MacWilliam

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'Psychic Edit' presents a strobing edit of archival home movie footage of Eileen J Garrett from the Garrett-Coly personal archives.

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Excerpt - Psychic Edit | 2008 | 14secs looped | Susan MacWilliam | (28secs excerpt)

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'Psychic Edit' presents a strobing edit of archival home movie footage of Eileen J. Garrett from the Garrett-Coly personal archives.
http://www.susanmacwilliam.com/

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Mysterious Noises at a Parsonage. The Teacher's House. An Invisible Companions

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As a child of the '70s I am still HAUNTED by this...

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As a child of the '70s I am still HAUNTED by this...

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Lonely Water (widely known as The Spirit of Dark and Lonely Water) is a 1973 British Public Information short film made for the Central Office of Information (COI). Lonely Water was produced by Illustra Films and directed by Jeff Grant. Narrated by Donald Pleasence.

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"When I found myself subject to visions and thought transferences without any known locomotion, possessed of mediumistic powers that needed to be examined, controlled and analyzed over the initial years of training, I had to go within myself, with the help of others, to find and analyze these obscure human faculties and establish them in such a way that they could be used for experimental purposes."

Eileen J Garrett, Does Man Survive Death?, 1957, Garrett Publications, Helix Press, New York. Page 8.

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Haunted Houses
“We must begin, of course, by searching for all ‘normal’ explanations – such as trickery, practical jokes, rats, bats, birds, wind, water-pipes, loose wires, strings, mice, loose bricks or boards, etc., as well as taking into account sense-illusions, natural credulity and superstition, etc. Only when all such causes have been effectually eliminated may we begin to suspect that some ‘supernormal’ agency is at work.”