2 10 105 https://filianicstudies.org/cms/files/original/96caeb3b6b248434b080a5ba44adc447.pdf 43a5a6210cbc560e82d3bbdcf57490e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemis Description An account of the resource Proto-Aristasian magazine. Date A point or period of time associated with an event in the lifecycle of the resource c. 1984 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine (22pp.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemis 5 Description An account of the resource The fifth issue of Artemis magazine. Source A related resource from which the described resource is derived Personal collection of Miss Dessie Octavia Vargas. http://www.filefactory.com/folder/945a9d180cc7be72 Publisher An entity responsible for making the resource available Artemis Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant London https://filianicstudies.org/cms/files/original/4f6a7088cda1c2cbbeea9888274b2050.pdf 45392331a71dc9cc0d795dafdce6ebc7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemis Description An account of the resource Proto-Aristasian magazine. Date A point or period of time associated with an event in the lifecycle of the resource c. 1984 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data magazine (28pp.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemis 6 Description An account of the resource The sixth issue of Artemis. Publisher An entity responsible for making the resource available Artemis Date A point or period of time associated with an event in the lifecycle of the resource 1984 Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant London https://filianicstudies.org/cms/files/original/ea70ccf7bd1e200f7b610563d4d46212.pdf e6ecb369f52e7c5fd4123fbfbed6a827 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rosa Madriana Description An account of the resource Materials produced and/or used by Madria Olga and Rosa Madriana. Creator An entity primarily responsible for making the resource Rosa Madriana Publisher An entity responsible for making the resource available Rosa Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1999 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data loose-leaf, typewritten, 3pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Being Human Description An account of the resource A short treatise on religious anthropology. Creator An entity primarily responsible for making the resource Unknown. Found among Madria Olga's paper, but possible reproduction of Lux Madriana material. Publisher An entity responsible for making the resource available Rosa Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1999 Contributor An entity responsible for making contributions to the resource Donated by Joey McEvoy III. Format The file format, physical medium, or dimensions of the resource loose-leaf paper Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/6fd67af172eeeb732f80580c438755fc.pdf e9c40e35994a1794720c51b585270154 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data booklet, 21pp. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Breaking the Time Barrier (The Moira Handbook) Description An account of the resource An exposition of the Madrian method for past-life regression. Creator An entity primarily responsible for making the resource Lux Madriana Publisher An entity responsible for making the resource available Lux Madriana Date A point or period of time associated with an event in the lifecycle of the resource 1978 Contributor An entity responsible for making contributions to the resource Donated by Joey III Format The file format, physical medium, or dimensions of the resource booklet, 21pp. Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/45f08e2691195214a10ffdee2d8785c9.jpeg b6c7b0f1ae6205e0e14a5a7ce1d77b7e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Burtonport Maids Description An account of the resource A photograph of three young women taking tea at the Burtonport household. Creator An entity primarily responsible for making the resource Unknown Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource c. 1982 Contributor An entity responsible for making contributions to the resource Donated by Joey III, who discovered it in the remains of the Madrian household after their occupancy had ceased. Format The file format, physical medium, or dimensions of the resource photograph Type The nature or genre of the resource Still Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Burtonport, Ireland https://filianicstudies.org/cms/files/original/68c2fa6d0931182368faa0c3544403f7.pdf 31f198f00a6b2887e08ea43dd60c5858 https://filianicstudies.org/cms/files/original/89650508d37fc448ac943d0a8dc2fbb5.pdf 12d1c12fa04adc3b345674a7c7fb03e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Madrian Literature Circle Description An account of the resource Documents issued by the Madrian Literature Circle between 1973 and 1982. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource 1973-1982 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data loose leaf, handwritten (12pp.) Text Any textual data included in the document [This transcript reflects the handwritten version.] Conversations from Below: I The scene is set in a bedroom – well, of course, there are at least a hundred ways of looking at any scene; but since the most usual way is the physical, we will begin with that. The scene is set in a bedroom. A rather plain bedroom and not a particularly tidy one. It is littered with books and papers, shoes and slippers and various other appartenances of physical life. On the corner of the bed is a maid between twenty and thirty, if not rather older (or even, perhaps, a little younger). She appears to be deep in thought. If one were to look at the scene in another way – a way beyond the physical (not so much above it as below it) – one would see a snake. It slithered a little while ago into the room, and beginning at the ankles, it has wrapped its coils about the whole length of her body. She, of course, is quite unaware of it; and the snake seems only slightly aware of her. Its business is not exactly with her. But to understand that, we will have to look at our scene in another way again. If we see the scene as the snake sees it – a way much further below the physical – we will see that the snake is concerned with a little stream or trickle that seems to be flowing out of the heart of the maid. But as we look down the stream, we will see that it is flowing not into the room, but into a landscape: a dark and dreamy landscape, which seems heavy with a sort of dull laziness. And we see also that as the trickle flows on, it becomes a little river, overhung by strange trees which, in that twilight look something like willows, except that their outlines are not clean and clear, but strangely heavy and blurred, as though they had been moulded from some greasy black wax that would not set properly. But unlike other rivers, this one flows slowly and lazily where it is young and slender, meandering widely, first in one direction and then in another, seeming to have no particular destination and to care nothing for when or whether it arrives. But as it becomes older and broader, so its pace becomes faster and more determined, forcing a path through all obstructions with an urgency that rises towards the end to something like desperation. And the end? Why, at the end it flows not into the wide sea, but comes to a great weir, vast and terrible, where it crashes over the edge into the awful nothingness of a black and bottomless abyss. A picture that might have been conjured up in the imagination of those sailors of former times who belileved the earth to be flat, and feared that they might sail over the edge of the world. If we have talked of this river as thought it were a living creature, we have not been far wrong, for if we look at it in another way, it is a snake. And as soon as we have adjusted our vision so as to see it as a snake, why, the whole focus seems to swirl and flicker, showing it now as a snake, now as a man, now as a maid, now as a demon, all claws and lashing tail. For this creature or river is the false self of the maid, which seeks always to lead her by gradual degrees downstream, first this way and then that, but always away from the bright, bright light of perfection. There is one other place where the stream flows rapidly, and that is at the very beginning, where it is out in the open and exposed directly to the light. There it turns and twists, far more like a snake than a river, spurred to violent activity by its fierce determination to get back into the dark. For some time now, the maid has been making her way upstream, and now, as the false self (whose name, if it had a name, would be Shlitt) is explaining, she is coming dangerously close to those narrow rapids. But quiet! We have already missed some of its words: ...but I just don't understand it, Klagon. She has had every advantage. She has lived in a world absolutely dominated by materialism. Their "great issues" are all to do with money and politics and what they call "society". And she had perfect freedom – there was no need for treason. She could have been a capitalist or a socialist, an artist or a philistine, a humanist or a cynic – and all the time she would never have taken a step upstream. But she is questioning everything – everything. Klagon: Calm down, Shlitt, calm down. I hope you don't let her call it "questioning". When she questions religion, that is "questioning". When she questions the orthodoxies of materialism, she must be taught to call it "personal opinion", or better still, "wishful thinking". Shlitt: No, no, she is past that stage now. I can't befuddle her mind with verbal tricks any more. Klag: My dear Shlitt, humans are so made that their minds can always be befuddled by verbal tricks – or practically always. If our subject is past the particular stage I have mentioned, then rest assured, there will be dozens of subtler strategies suitable to whatever stage she has reached. Your trouble is that you having [sic] things too easily up till now, so you give up as soon as you run into a spot of difficulty. The battle isn't lost yet: it has hardly begun. Shlitt: But what must I do? Klag: Well, we must watch the situation carefully and adjust our strategy as we go along. It is important to keep the campaign going on several fronts at once. We can start by launching a heavy bombardment on the materialist front. Shlitt: But that's what I've been trying to do. Klag: Yes, but how? Shlitt: With arguments, of course – opening her up to all the arguments against the existence of any non-physical reality. Klag: Yes, I thought as much. Listen, Shlitt, arguments are sometimes all right for bolstering up materialism when it is already accepted – even then they are just a frill, a superfluous luxery. But when materialism is even slightly in doubt, clear thought is our worst enemy. You know as well as I do that there are no real arguments against non-physical reality. Let me give you a principle. It is one word that should be engraved over the gates of Hell in letters of granite. The word is fuzz. Never forget it. Shlitt: But what does it mean? Klag: It means that you must never let your subject's mind be clear. All her thoughts and arguments must be fuzzed. Succeed in that and your path is clear. Fail and you have not the smallest hope. Shlitt: How does that apply in this case? Klag: My dear Shlitt, fuzzing is the very essence of materialism. Materialism means making your subject believe that everything has its origin in physical matter, without ever asking where physical matter has its origin. Materialists believe that everything has a cause. Now either matter has no cause, in which case their system breaks down; or else it has a cause – in which case the cause must be outside matter (since nothing can be the cause of itself). So their system breaks down either way. Don't you see how fuzzed a mind must be if it fails to realise that? You wouldn't think it would work, would you? But it does. We've had some of the best human minds eating out of our hands just by a bit of fuzzing. Shlitt: But if they're really intelligent... Klag: Intelligence comes second. Don't you understand that? Once the false self is in control of a subject, the subject is fitted subconsciously with the correct feelings of terror and hatred towards the terrible light of the Divine. She will not be aware of it (and it is very important that she does not become so). But all her beliefs will be designed to shield her from that light. Her intellect, which is, after all, simply one of her many attributes, will be used like all the others in furthering that end. And that brings us to another all-important principle. Whether she believes in religion or not, you must never let her see its true importance. Always encourage her to think of it as a part of life, as one aspect or dimension of things. Never let her realise how every action on the physical plane has both causes and effects on the spiritual. It is easy enough, for incredible as it may seem, she is practically blind. All she can see are the physical things around her. Only occasionally does she get the tiniest glimpses of the rest of the world. And usually it is easy enough to convince her that they are just "imagination". If she is a materialist, never let her horror of the Divine become conscious. Let her believe that she "hardly gives religion a thought". Shlitt: But this doesn't apply to my case. Klag: It is important that you understand the basic principles. But you are quite right. Let us get down to practicalities. As I have said, there is not point in arguing for materialism, but there are plenty of other ways of going about it. You can simply take advantage of her near-blindness. Make her concentrate on the things about her, show her how real they are. And try to convince her that since she can't see spiritual things, they don't exist. Shlitt: But that's nonsense – it makes no sense at all! Klag: I know, I know. But you'd be surprised how often it works. A good blast of that trick at the right moment (timing is very important in these matters) can often succeed where months of patient work have failed. It isn't foolproof, but do keep trying it: – it takes no effort, and you never know when you might score a surprise hit. Shlitt: Good, I will try that. Klag: Now alongside that, you must work in some other tricks. One of the best is to pester her with the idea that religion is "out of date" that "you can't believe in that these days". When a really well-trained materialist hears about religion, she says (or thinks, if she has fallen into the deplorable habit of politeness) "But this is the twentieth century!" Of couse, that makes about as much sense as saying "But this is Tuesday morning". But keep fuzzing, and she will never notice. Now with your subject, you may not yet be able to fuzz the whole issue. She probably will ask exactly what that means. But you must still fuzz. Let the answer be something vague about "modern science" or a "more advanced civilisation". For Hell's sake, don't let her seriously start asking what particular proven facts of modern science contradict religion. If she does that, you're finished along those lines. Shlitt: For a little while, anyway. Klag: Quite right. You can often use their forgetfulness to your advantage, and reopen issues a little later that they have quite successfully dealt with before. Shlitt: But aren't there any specific examples I can give her? Klag: Well, again, try to be as vague and general as possible. There aren't any real scientific facts that support materialism, but there are individual scientists who happen to be materialists. Of course, that is nothing to do with the fact that they are scientists – they would have been materialists in any case. But provided you keep fuzzing, you can use them in a vague way to give the "authority of science" to materialism. But it is usually better to be more general than that. Her whole society is materialistic. Try to make her feel that a society which has moonflights and electric lights must know better in all things than ancient religious societies (the sort of history they teach her makes even the earlier patriarchal civilisations seem more primitive than they were). Don't let her consider the fact that just as a plumber probably knows little about metaphysical philosophy, so a society which is very proficient at technical and physical things is likely to be backward in spiritual matters. Fortunately we have long ago erased the knowledge of the ancient matriarchal societies, which were so far advanced in spiritual knowledge that they were able to produce all the benefits of material technology without machines and factories and laboratories. Only a tiny few of the them have the smallest fraction of that ability now, and they can easily be dismissed as fakes and frauds if they are so foolish as to make themselves public. She does still believe in what they call "progress", I take it? Shlitt: Yes, but she is becoming a little sceptical. Klag: Be very careful about that. You must keep her believing in "progress" – and keep it as vague as possible. The human race "coming of age" is a very good phrase – it suggests a vague analogy with their individual growth patterns and means nothing in practical terms. The less it actually means, the less it can be questioned and criticised. So long as you keep her hooked on the progress-myth, materialism is always in with a chance. But that's not all; you'll see later how it can be useful to us in all sorts of other ways, even if we can't get her back to materialism. Shlitt: You mean we haven't lost if we can't get her back to materialism? Klag: Lost? Not by a long shot! In the modern world, materialism just happens to be the handiest weapon – but there are plenty of others. We got on perfectly well for centuries without materialism, you know. Of course, it would be very nice if she could be converted back to materialism, but it doesn't really matter. The main purpose of the campaign on the materialist front is not that at all. Shlitt: Then what is it? Klag: Well, there are various purposes. Firstly, it will help to keep her mind off the real spiritual issues. Secondly, if we can keep her hovering on the brink through doubts and difficulties, never really choosing one way or another, she will grow weaker after a little while, and the current will gradually pull her back downstream. Thirdly, even if she does choose the religious path, we will be able to use the vestiges of materialism – or even her attempts to disprove materialism – to prevent it from being a real approach to that awful Light. I may have to go into that later, but I hope not. Shlitt: I think she will try some religious "experiment" in the near future. Klag: Yes, that is not unusual. If at all possible, direct her into some form of Christianity. If you can get her to worship God in a masculine form, that is half the battle. We brought about the present materialism in human societies by weaning them slowly from the Divine Image, to a masculine form of it, and then weaning them off that altogether. Fortunately, being half-blind, it is easy to confuse them about this. They cannot see the spiritual weakness of the masculine image, although they can sometimes feel it. Besides, we have had all of the Christian sects in our pocket now for a long time, and have guided them into a worldly mentality. In the last century we had them all on respectability and thrift and capitalism; now its all social justice and "liberation" and "personal relationships". A few slip through the net, of course, but for the most part they are all floating nicely downstream. Fix their hearts on transient things, and let them give no thought to the Eternal. That's the secret – then it doesn't matter whether they call it "religion" or not. But in the name of all that's unholy, keep her eyes turned from the dazzling image of the one Goddess. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Conversations from Below: I Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource c. 1980 Language A language of the resource English Type The nature or genre of the resource Text Description An account of the resource A fictionalized account of the temptation of a soul. Creator An entity primarily responsible for making the resource Lux Madriana Contributor An entity responsible for making contributions to the resource Handwritten copy donated by David Kay. Printed copy donated by Joey III. https://filianicstudies.org/cms/files/original/e0a47ba5afae7858e27030d6b017d53c.jpeg 16046f94247d5543f26a28774399e919 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data drawing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Devotional Icon in a Bedroom Description An account of the resource An artwork found in a bedroom of the Burtonport household. Appears to be the original from which the cover of TCA 11 was made. Creator An entity primarily responsible for making the resource Unknown Publisher An entity responsible for making the resource available Lux Madriana Date A point or period of time associated with an event in the lifecycle of the resource c. 1978 Contributor An entity responsible for making contributions to the resource Donated by Joey III, who found it in the remains of the Madrian household at Burtonport after their occupancy had ended. Relation A related resource TCA 11 Format The file format, physical medium, or dimensions of the resource paper wall hanging Type The nature or genre of the resource Still Image https://filianicstudies.org/cms/files/original/fd1bc62686dc81772598db32c0279f44.pdf 2ad583bbe369daa2692ee2d7bcd2085e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Madrian Literature Circle Description An account of the resource Documents issued by the Madrian Literature Circle between 1973 and 1982. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource 1973-1982 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data loose leaf, typewritten (3pp.) Text Any textual data included in the document Ecology as a Spiritual Quest In recent years there has been a positive yearning in many hearts to return to a more natural way of living, and to protect – in all her forms – against the ravages of human greed and exploitation. Very much of this has been based on sound economic and ecological reasoning. Yet often one feels that these reasons are only rationalisations of a motive more difficult to express but far more profound. A feeling that beyond considerations of human self-interest, or even compassion for other creatures, there is something in nature that is intrinsically sacred. As a Madrian, I find this a quite natural attitude. Matriarchal religion is closely bound up with nature. It is not a question of nature-worship (as is sometimes suggested by those who wish to see nothing but "primitive" superstition in our matriarchal past), but a recognition that nature is not only a creation of God, but has a special "purity" in that it has fallen less far from the primordial unity with Her than has maidkind. In the Scriptures of the Goddess we read very freuqently that all physical things are the outward expression of Spirit. In their perfect state, they correspond to themis [thamë], the Divine Order or Pattern. For example, in The Way of Simplicity, we read: "All nature is a vast and subtle music, to which the innocent soul is close attuned", but evil can disrupt the music of themis: "The profane assay to sever themselves from this music, fixing new laws of gain and self-advantage against the law of universal love." From the point of view of the earth plane, it is only humanity which can do this. Animals, stars and flowers all move within the natural harmony of themis. Physical nature is not perfect (animals prey on one another, plants may be parasitic, disease and death exist), but at its own level, it is a shadow of the primordial Perfection of God "from whence we came and whence we must return". Only Maid must make an act of will in order to conform to themis: "No tree may blossom out of season, nor any flower greet springtime with austerity, but a maid lacking inward control is broken from the rhythm." That is because only maid has the power of choice between good and evil, between harmony and discord. The present age is wholly profane in having cut itself off as far as possible from the rhythm of nature, building an artificial urban lifestyle which is insensitive to the subtle currents of the seasons and the moon. Ignoring the complex pattern of rights and duties which characterise maid's true relation with nature and substituting for it the evil and ignorant doctrine of "might is right", which allows humanity to plunder the earth without returning anything until it becomes a desert, to torture and brutalise our sisters of the animal realm without mercy and to exploit them as though they were insensate pieces of machinery. All this is tied up with the doctrine that nature is a mere "accident", a chance arrangement of physical matter without meaning or spiritual significance. As soon as one realises that nature is the expression of Spirit, the essential blasphemy of the exploitative attitude becomes apparaent. To truly experience nature is to revere her, and through her to revere She who has created her. Faced with the majesty of untamed nature, whether in the stars or in a forest, the human heart is overwhelmed with a feeling of wholeness and holiness – a feeling that here is something complete and as it should be – an earthly reflection of the awesome Perfectness of the Divine. But it is not only in rare "mystical" moments of nature-experience that the holiness of nature can be with us. Time and again, I have noticed how as a person practices the seasonal rituals handed down from the dawn of time, and meditates upon their inner significances, slowly she becomes at one with the seasonal rhythm. Her work, her thought and her devotion change with every turning of the cycle. Her inner life is not the same in autumn as it is in spring, but follows the pattern of themis [thamë]. This is how we were meant to be. I believe that it is this spiritual transparency of nature which so many modern hearts are yearning for amid the desert of technological/commercial materialism. I believe that ecology and the "natural life" movement are truly a spiritual quest; a pilgrimage back to the true homeland of the human soul. Yet there is a danger. So long as the spiritual significance is not recognised, but is hidden under "sensible" justifications in terms of health, conservation of resources, etc. there is nothing to prevent "common-sense" compromises with materialism which will leave the situation almost as bad as before. It also leaves us open to the charge (so intimidating in this "practical" age) that wherever we cannot find utilitarian justifications for our beliefs, we are mere sentimentalists. No, respect for nature must be based on the hard spiritual facts of life. We must show that it is the materialists, with the crass scientism, their irrational fear of the supernatural, living in their self-made sterilised universe – it is they who are the dreamers. When they jackboot over nature in their frenzied scramble for every last penny, they do not know it is their own souls they are bruising. Only those who can see the spiritual Reality behind nature can be called realists. First published in Action for Psychic Ecology No. 5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ecology as a Spiritual Quest Source A related resource from which the described resource is derived Personal collection of David Kay. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource c. 1980 Language A language of the resource English Type The nature or genre of the resource Text https://filianicstudies.org/cms/files/original/10994c1efc581a9f97c2bf7c86e23838.zip 790299abd14e8f618ea50d5b3ddcd981 Dataset Data encoded in a defined structure. Examples include lists, tables, and databases. A dataset may be useful for direct machine processing. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Filianism-related Yahoo Group Archives Description An account of the resource A Zip archive containing the files and message logs from six Yahoo groups related to Filianism: 1) Aristasian Spirituality An Aristasian discussion group focusing on religion and spirituality, active 2004-2006. A very valuable primary resource for the study for Aristasian Filianism, notable particularly for Miss Annya Miralene's commentaries on theology of religions. 2) Deanic Conversations The main discussion channel of the 'Thean Church', an eclectic spiritual group influenced by the Clear Recital (among other sources) active between 2012 and 2015. While most of the group's activity is not directly relevant to the study of Filianism, some conversations touched on points of Madrian history or include information on the provenance of Madrian texts. 3) Lux Madriana A discussion group for persons interested in the history and teachings of Lux Madriana, active between 2009 and 2019. 4) The Morning Letter An Aristasian group briefly used for travel updates in 2004. 5) Reality Dawns A group affiliated with the 'Romantians' or 'Romantics', active from 2004 to 2006. While not directly a Filianic group, early conversations included contributions from Miss Annya Miralene on points of social criticism and ethics that are relevant to Filianic thought. 6) A Weekend at Miss Martindale's A discussion group for persons interested in pre-Bridgehead Aristasia, active from 2003 to 2019. PLEASE NOTE: Archives are in MBOX format. These can be opened by default email software on Macs and most Linux systems. Windows users may need to download a special client for this purpose. Aryson MBOX viewer is one recommendable free option: https://www.arysontechnologies.com/mbox-viewer.html https://filianicstudies.org/cms/files/original/f63c7ef837b8ea47048addc76824f1e1.jpg 2d046ac05190ff5deb9acc3a3df85137 https://filianicstudies.org/cms/files/original/b8e8e541dcda1832396f0f2794dc35ff.txt 8279a4590ef97f409ec1f7b6571390a0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Madrian Literature Circle Description An account of the resource Documents issued by the Madrian Literature Circle between 1973 and 1982. Publisher An entity responsible for making the resource available Madrian Literature Circle Date A point or period of time associated with an event in the lifecycle of the resource 1973-1982 Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data typewritten (3pp.) Text Any textual data included in the document the savel must choose whether in her lac draven thernigh, other els sink adown among aye deeper shadowy mares; sink adown among swevening spectres and al the blent mire. 27 She that forturneth the light of berAthme in this world goth adown beyond death among bodiless echoes of dark. 28 But everich lac that is worked full well in the Mother is the breath of the sawlis true self and doth losen hir chains. 29 ¶ Live the sawl in the Light and no working is yond of hir canning; Live the sawl in the Light and no thing is that can nat be don; Live the sawl in the Light and hir lacning accomplisheth all things, for hir will shall be on with the will of sai Raya the Rayin. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fragment of The Crystal Tablet Description An account of the resource Scan of one surviving page from an unpublished printed copy of The Crystal Tablet, set for comparison against equivalent section from the published edition of Lux Madriana. Attached also is a txt file giving further information and scholarly conjecture by Sister Sophia Ruth regarding differences in the text. The fragment was discovered by Sister Sophia Ruth among other Madrian documents obtained at a used book shop in the early 1990s. Source A related resource from which the described resource is derived Personal collection of Sister Sophia Ruth. Date A point or period of time associated with an event in the lifecycle of the resource c. 1975? Language A language of the resource English Type The nature or genre of the resource Text