For its original adherents, Aristasianism was a self-contained esoteric outlook, with a practice of “living theatre”, ritual goddess-worship, and technological simplicity. For those who didn’t go home again, the immersiveness could be too much. One woman, “Sophia”, spent nearly a year as a “maid” in the house, where she was frequently beaten; in the end she escaped and later brought criminal charges against Guillermin for assault.
But by then things were already coming apart for the larger experiment. In 1992, not long after “Sophia” departed, so too did the Aristasians. Amid a dispute over property ownership, two of the previous Screamer owners broke into Atlantis House, where they found a dark, musty interior with almost no modern appliances or conveniences — and in a room upstairs, a row of tiny desks and a blackboard, complemented by willow canes leaning against the wall. According to reports at the time, the house was also strewn with antisemitic and sadomasochistic literature, along with correspondence between Guillermin and then-BNP leader, John Tyndall.
Even after this scandal-ridden dissolution of St Bride’s, though, “Aristasia” lived on: as reactionary as ever in its aesthetic, and increasingly BDSM-flavoured in its income streams. In 1993 Guillermin (now calling herself “Miss Partridge”) and Langridge cropped up again in Oxford, this time supporting an anti-metric campaign, hosting “Romantia” retro soirees, and offering discreet corporal punishment experiences. By this point, the more exoteric Aristasian mythology appears to have solidified: a kind of female-separatist high fantasy, with anti-technology retro styling and a side order of BDSM. In this world, Aristasia-in-Telluria is the corrupt, earthly imitation of the real world: Aristasia Pura, a parallel universe, world, existing on a different planet sometimes called “Herthe”. There are no men, and the two sexes are blondes and brunettes, respectively submissive and dominant.
Around the same period, the group founded Wildfire Publishing, which produced female-centric BDSM literature, including a title called The Female Disciplinary Manual, which is much what you’d expect. According to press reports of its 1995 launch, at that point there were several full-immersion Aristasian houses dotted around England, where members lived out the Aristasian reality including its practice of corporal punishment.
Certainly, at least one such establishment existed in 1996, when Channel 4 made a documentary about it. Guillermin, now styling herself “Miss Martindale”, features heavily, teaching lessons and disciplining “girls” for minor infractions. At Wildfire Publishing, meanwhile, fantasy, reality, and Perennialist theology found their most effective delivery mechanism yet: not video games, but fetish literature. The 1996 Children of the Void informs readers: “Morally and culturally, civilisation has ended, just as completely as it would physically have ended if it had been obliterated by atomic bombs.” Meanwhile the narrative mixes expositions of Aristasian feminine essentialism and slightly leaden dialogue with a hefty side-order of spanking porn.
It ought to surprise me that mashing up Right-wing reactionary occultism with Seventies radical feminism should produce mystical cosplay seasoned with BDSM. But somehow it doesn’t. Perhaps the extremism scholar Jeffrey Kaplan is right about the “cultic milieu”: that what matters for fringe ideologies isn’t their place on some imaginary political compass, but how far they are from the mainstream. But more than trying to place Aristasia politically, their enduring interest lies in the dedication they showed to testing just how far you can warp reality through force of play-acting.
“You can call it therapy,” Guillermin said in 2022 of the group’s “living theatre” practice, “or you can call it magic”. Was there really something occult going on? Or were they just kinky weirdos? Guillermin happily acknowledged in 2022 that Jack the Ripper, which despite its 18 certificate focused more on occult and Masonic subplots, was designed for “philosophical education”. And she repeatedly dismissed regular “kink” devotees as “silly monkeys”.
Whatever the original intent, though, the richness of Aristasian experiments in parallel realities collapsed with the ascendancy of the central, technological alternate reality that today structures nearly all of culture: the internet. By the end of the 2000s, Aristasia had largely lost its hold in “Telluria”, becoming an online-only fandom that finally imploded in a dispute over anime. Guillermin now resides in California, where she works as a therapist espousing the same “divine feminine” spirituality as ever.
But perhaps it didn’t fail. For Aristasia’s immersive practices — if not the aesthetic — are now almost as mainstream as the internet. The group was well ahead of the curve in realising the potential of computer gaming for those who dream of other worlds. And multiple reports suggest that Langridge was actually male, implying another type of personal interest in seeking to alter reality through performance.
More generally still, Aristasian “living theatre” anticipated cosplay. Internationally popular today, and usually viewed as a fun, it also attracts a minority who, like Guillermin, treat the hobby as a kind of consciousness-altering magic. Meanwhile, the notion that one can alter the world by “LARPing” — acting as if your version is already true — has become a crucial political concept in a world that appears increasingly unreal.
Meanwhile, Wildfire Publishing and the broader Aristasian fixation on power, hierarchy and corporal punishment has now become so normalised today that some even claim it’s reasonable to ditch a partner for not being kinky enough. And like cosplay, BDSM also attracts a minority who view it as something altogether more mind-altering.
So Aristasia succeeded beyond measure, in propagating previously mystical practices into mainstream culture. But it failed, just as signally, to have any effect on post-Sixties culture, except in pioneering the virtualisation of reactionary politics. For while the group’s actual links to the Right are ambiguous, the Aristasian route from efforts to do Traditionalism “IRL”, all the way to purely virtual fandom, reflects a broader contemporary tendency among the weird Right. Here, even as the liquefaction of “traditional” social forms seems ever more complete, nostalgic visions of bygone ages flourish: visions that, however, never seem to make it out of the digital realm.
What, then, is the lesson of Aristasia — whether for reactionaries, or anyone else? It is surely an ambivalent one: that the easiest dimension in which to create your own reality is the internet. But this comes at the price of being ever less able to realise your vision in real life. For that, you still need charismatic leadership, quasi-religious doctrine, real-world community, and a willingness to look silly in the eyes of the world. For those who embrace this more difficult path, though, the story of Aristasia offers a backhanded kind of hope: that if you roleplay hard enough, then even in apparent failure you end up shaping the future.
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