I wanted to drop in to share the first official post made on the snazzy new CT website (props to Erifrail for the beautiful design)!
I've been researching the FiNe type lately, and came across the most wonderful example in the young musician Aurora Aksnes. I've posted her celebrity profile here: cognitivetype.com/aurora-aksnes
Aurora is a fascinating person. She's a very original creative who's music, philosophy and lifestyle is unique, subtle, lovely, and quite ideal for a Ji-lead. She's taught me so much about FiNe psychology, and helped me to quantify their characteristics more solidly. I hope you enjoy the profile! Oh, and if you have anything to say about it, to add or subtract, do post I look forward to hearing your comments.
P.S. Many more posts to come, I'll keep the forum updated on new content, it would be great to have feedback as we fill up the site ^^ I've started working on the type profile pages, but I'm Ti, and tend to be rather particular.. and therefore slow.. well, y'know. It's prolly gonna take a while >.>
Post by ayoungspirit on Jan 29, 2016 17:08:25 GMT -5
While I hope we will have the opportunity to see a relative diversity in format for the descriptions, I think this one is a model of its kind. Beside the clarity and the cohesive structure, I especially appreciate the progression toward Aurora's individual outlet as a singer, and her use of moth imagery. To me, it seems important to emphasize personal differentiation in types, starting of course by the most understandable material in the context of CT. I would very much like to see this aspect expand a bit, in balance of course with the general pedagogy of signals. The choice of a visual cue like in this case seems to me very appropriate, so as to produce a united view.
Even more than traditional typology, vultology can appear at first glance very conforming, if not reductive. Having a portrait gallery would be telling in another context, but the similarity of facial expressions, if not facial features, can tend to negate a bit of this humanity. Of course, we can also ensure that thumbnails choices end up being sufficiently different to offer a colorful series.
A very good choice in any case, very illustrative !
Last Edit: Jan 29, 2016 17:11:30 GMT -5 by ayoungspirit
Post by ayoungspirit on Feb 25, 2016 10:38:09 GMT -5
In line with Alerith article, I would like to propose a quick draft for Jim Carrey. This may be subject to changes, so do not refrain from giving any kind of feedback, especially concerning accuracy and accessibility. Then, we will see what we make of it.
For this particular instance, here are the main guidelines I tried to follow : - keeping the description simple, introductory, and trusting the intelligence and curiosity of the reader, which implies no biographical digression or excessive theorizing - focusing on a series of essential traits which are particularly illustrated by the subject - at the same time, putting some effort toward disqualifying alluring stereotypes and common confusions - trying to mimic the steps of a spontaneous assessment : reputation, first impression, observation and extension - choosing a mostly homogeneous vocabulary consistant with the one used in the book, without suffocating the language - offering perspective by linking to a variety of sources and to other celebrities, notably inside the website database, while leaving the timer on captures so as to easily find the parts in question _______________________________________________________________________________________
Like many an actor before him, Jim Carrey appears to have turned one of his innate mannerism into a successful career asset. I am talking of course about the parodying tendency typical of Ne users and most prevalent in the Ne-lead. Indeed, while this behavior may be circumstantial and not restricted to a function, a variety of individuals with Ne as a process rely on it to a significant extent. This in turn allows them to communicate some of their associative imagination by way of a second-degree performance. Even though his persona is certainly less exaggerated outside the set, Jim Carrey best represents this development, which we can refer overall, and most literally in this case, as the "comedian" shade of the NeTi/Maleer.
Figure 1 : Jim Carrey making impressions through grimace and voice, most notably when transposing scenes from the past (starting with the disclaimer "I was like...")
Putting aside the arrangements of Hollywood photography and looking directly at the man by the mean of interviews, the observer may immediately notice two significant signals : buoyancy and naive eyes. Not a maniac by any mean, Jim Carrey seems nevertheless to manifest a consistently proactive attitude in appropriating his setting, making its excitation felt. And while the expressive range of the actor certainly allows him to occasionally perform somewhat menacing stares, more so in promotional pictures, his most natural expression is one of softness, which we could be tempted to describe as childlike.
Figure 2 : Jim Carrey's unfocused energy and naive, childlike look
A more detailed and systematic approach may be able to distinguish an oscillation between the two leading functions of the Ne-lead, proactive abstract perception, also abbreviated as Ne, and reactive concrete perception, or Si. Beside its continual momentum akin to restlessness, Ne is most apparent through a smooth toggling of the eyes, which emphasizes their brightness. On the other hand, this is complemented by a fixated stare, notably in the instances of recall. Whereas the former movement may be easily directed upward, the latter may drift downward and to the side, in a manner similar to a Si-lead, but certainly to a lesser length. When the recall process proves demanding, it can be accompanied by a typical scowl, which bears a similar appearance to a confused expression.
Link to figure 3 Figure 3 : Oscillation between eye-toggling and fixation during the reenactement of a complex memory
Figure 4 : Jim Carrey's scowl during precise recalls
Given the accentuation of extraversion in this development, the secondary oscillation is mostly apparent through a subsidiary proactive ethical judgement (Fe). A very meticulous recorder may notice, in spite of the lack of clear pausing and rigid neutralization, a certain jerkiness in expression. However, reactive logical judgement (Ti) prevalence can be discerned by proxy in the placid and somewhat monotonous Fe smile. Not only does it lack the central tension of Fi, but contrary to more prevalent Fe users, there is not much tension either in the zygomaticus muscles. In any case, perhaps assisted by his professional training, Jim Carrey appears quite adept at modulating his voice tone in accordance to the reaction he wishes to elicit.
Link to figure 5 Figure 5 : Jim Carrey's relaxed and inviting smile
The content of the interview itself could hint us toward the mental considerations that accompany the typical outward expressions of the NeTi/Maleer "comedian". During his 2014 appearance on morning television show TODAY, Jim Carrey mentioned an exhaustive inclination for experimentation and improvisation commonly saw among Ne-lead. Matt Lauer : It has been said that [...] you tend to always think that there is a better, bigger laugh in the next take. Jim Carrey : I'll go until they won't let me anymore. You know, basically that's my thing. [...] I'll try one more and something completely spontaneous happens. Maybe one or two times out of ten, it's something really brillant.
On a previous instance, during the promotion of 2011's movie Mr Popper's Penguins, he described to BlackTreeTv his way of making his prospective imagination come true through opportunities, while demonstrating a reliance on past experiences. Jamaal Finkley : Did you dreamed it big or did it just kind of happened ? Jim Carrey : No, I dreamed it. I really did. I had a teacher in second grade [...] who said "whenever I want something, I pray to the Virgin Mary [...] and I get whatever I want". [...] I have been operating my life like that ever since, and Hollywood was the same thing, it was a creation of my mind to begin with. But then, what you do is you put it there like it already exists, you feel it as if it already exists, and then when the doors open up you walk through them.
In the end, one should be careful not to reduce the individual to its most whimsical presentation. A variety of additional interviews have put forward the tension between an optimistic, self-expressive impulse and a depressive tendency, but also an interest in drama as well as a trustful exploration of spirituality.
If you are searching for another similarly developped NeTi/Maleer from a different country, you can take a look at French comedian Gad Elmaleh. Again, a fruitful comparison could be made with the neighboring NeFi/Medaer type, for example through the personality of comedian Robin Williams.
Post by ayoungspirit on Feb 26, 2016 13:41:03 GMT -5
To follow up, I made another prospective article about Morgan Freeman. Since, to be honest, I had myself difficulties to technically differentiate NiFe from SiFe, I decided to focalise the read around this investigation, in a more didactic manner. This incited me to revise and explicit some of the vocabulary in my previous entry.
By the way, I should mention that I have more detailed versions of the pictures in my hard-drive. This may be a good opportunity, as a neophyte, to ask Auburn about the possibility of Wordpress in regard to format. Is it possible to insert miniatures that would link to greater resolution when clicked ? What is possible to host ?
PS : Alerith , you can of course part the thread if you (understandably) prefer to keep it for your productions. I aimed at uniforming the content but I did not meant to take the space _________________________________________________________________________________________
In recent years, Morgan Freeman has been publicly acclaimed for his characteristic narrating voice. Notwithstanding his experience in acting, one could be surprised by the way this very posture has been appropriated during a variety of public presentations, without a hint of affectation. This should orient us further on the path to understand his mannerism and personality, with the help of filmed interviews.
In typological terms, Morgan Freeman leading process could be easily identified as reactive/introverted perception or "worldview", abbreviated Pi. Indeed, from the start of the exchange, his very sitting position emphasizes a calm, literally laid-back temper. Slight bursts of energy are noticeable, but the momentum is mostly contained and slowed down, which would indicate the complementary but subservient process of proactive/extraverted perception or "exploration", abbreviated Pe. Additionally, his body lacks the prominent rigidity which would be suggestive of a judging type, and stay somewhat viscous, with a discrete swaying. In the end, perception most significant organ may be the eye, and the overall movement often accompany a lengthy, fixated look down and to the side, "zoning out", when the individual is incited to refer to his memory.
Link to figure 1 Figure 1 : Pi viscous swaying, accompanying the side look
Figure 2 : Pi side look
Beyond its peculiar crispiness, Morgan Freeman intonation may also expose his secondary pair of judging functions. His phrasing is given rhythm by an alternance of warm swellings and neutralized breaths, which suggest proactive/extraverted ethical judgement (Fe) and reactive/introverted logical judgement (Ti). His aim is sometimes underlined by a delicate but firm gesture from the hand or the head, even though its restraint and inertia suggest that Fe is a secondary process. Eventually, this diagnostic is confirmed by the smile, which extends to the sides through the zygomaticus muscles in a purposeful and nuanced fashion.
From there, differentiating between the NiFe/Valein type, lead by abstract perception, and the SiFe/Malein, lead by concrete perception, can prove more difficult, and will necessitate even more detailed observations. Both types are prone to follow their internal course of thoughts, and on some occasions to narrate or ramble about their life experiences. Circumstances and physical features may also alleviate the distinction between external signals.
The first clue should appear through the general expression of the eyes. Due to a difference in ocular muscles use and focus, the eyes of a Ni-lead should keep a "sharper" appearance under the relaxed upper eyelid, which would give them an air that one could refer to as "hypnotic" or "unimpressed", compared to the "dull" eyes of a Si-lead. This however, can be a tenuous impression to the observer, so supplementary signals may help cement it.
Figure 4 : Ni "unimpressed" look
When two processes are difficult to differentiate by themselves on an individual, the decisive argument can come from discerning the expected complementary process, in this case proactive concrete perception (Se) or proactive abstract perception (Ne). Although Morgan Freeman manifests a playful recourse to acting in his narrations, which may evoke the parodying tendency of Ne, the movement of the eyes more likely suggest an oscillation between Ni and Se.
In ordinary occasions, the typical steadiness of Ni and Se could transpire through a lengthier fixation on the interlocutor or to the side. However, due to the format of the television interviews at hand, the natural pondering is keep to a minimum and the guest is incited to quickly chain questions. We may find thus more reliable or accessible signals in the occasions were Morgan Freeman eyes are widening or toggling. Contrary to the toggling of a Ne user, which is soft and unfocused, "naive" so to say, the eye moves are swift, often highlighting one upward look before coming back downward and "zoning out". If they are tracking a particular object, they appear even more fixated, giving an almost "manic" expression, while the upper and down eyelids, usually relaxed, are both peeled to the brim.
Figure 5 : Quick oscillation between zone-out and upward look
Link to figure 6 Figure 6 : Oscillation between a widen and very fixating stare and a relaxed zone-out, and as a bonus, squint
Link to figure 7 Figure 7 : widening of the eyes followed by swift look upward and return to zone-out
Therefore, Morgan Freeman may be identified as a NiFe/Valein. His casual allure and his propensity toward storytelling further indicates a development one can refer to as the "grandfather" shade, which may appear closer to the SiFe/Malein type than other dispositions. This of course, is deeply enriched in this case by a varied life experience and a specific training as an entertainer. With the help of Ni-Se linear, seemingly confident flow, he can willfully manifest what can be referred to as "Beta Charm".
Since he may rely on the factuality of experience to a greater extent than other Ni-lead, it can be difficult to pinpoint potential verbal cues of the abstract, not to say cryptic frame of reference of the NiFe "grandfather. Perhaps the following quotes can put us on the trail.
In an interview about playing South-African leader Nelson Mandela, Morgan Freeman summarized his approach to acting as an abstract representation of the character internal life, interestingly coupled with its level of energy.
Morgan Freeman : "The basic thing that you need when playing a living human being, I think, is what goes on inside, how much energy is needed to be that person. And with Madiba, it's a very low energy ebb, he is very quiet, inside."
During an adress to Oxford University students in 2015, he also condensed it as the following :
Morgan Freeman "I am not what they call a method actor. I just read the script and then stumble through it. A teacher once said [...] I fall in the category of intuitive actors, I just intuit and do it. I just made that up."
If you are searching for another similarly developed NiFe/Valein "grandfather", you can take a look at Leonard Nimoy or Garrison Keillor.
Haven't read it all yet, but to answer the question on images: it's certainly ok. No real limit on the number of images we can host, or their resolution. Wordpress is a pretty advanced platform and allows for WYSIWYG and image scaling by dragging the corners of the images into whatever size you want. To host it locally on the site, you click "Add Media" above the post area (here in the blue box) and then a popup shows up where you click the "Upload Files" tab.
Then once you've highlighted your image, you go to the right side of the popup and click "Link to: Media File":
Then hit "Insert to Page". Now, you may see things in code or in visual form. Kinda how here on Proboards there's a "Preview" and a "BBCode" mode, wordpress has these two labeled as "Visual" and "Text" at the top right of the composition box. Visual mode will allow for easier scaling of images and so forth.
Hope this helps, but do let me know if you need help with anything.
Post by ayoungspirit on Feb 27, 2016 15:39:53 GMT -5
And so I continue with a TeNi celebrity. Since I did not wanted to start with too much controversial of a figure (like Charlie Sheen, Rosie O'Donnell or Donald Trump), and I did not know about the others, I liberally choose to talk about Charles Dance. I found that, while sporting the same manic expression in pictures, his actual development was a bit more varied, so I turned it into an invitation to overcome first impressions. Hence, I did not give all the details, so as to incite the readers to go through the interviews by themselves.
Beside, while working on it, I noticed Charles Dance was somewhat prone to emphasize significant words, especially at the end of his sentences, or to distribute simple moral statements like "This is really good [insert]". Youtube creator Nerdwriter1 pointed a similar trend in the speech patterns of Donald trump, as indicated in the following video. I do not know if we can use it directly on the website, but, perhaps, this might prove an interesting source, next to Dario's Nardi observations about the negative moral vocabulary of the ENTJ.
Edit : My first interpretation was indeed TeNi, but Charles Dance may very well be NiTe, with predominant eyes and a more viscous posture. I might have been overly impressed by his strict composure and too much eager to find a fit for manic expression. This would not disqualify all of the content, and it still is an interesting development to tackle, but in this case, it would need to be globally rewritten. As a side note, his speech can sound a bit similar to video game critic Ben "Yathzee" Croshaw (also NiTe). Edit 2 : A Rewrite has been posted here, and updated to the website here. ________________________________________________________________________________
At first glance, Charles Dance may boast quite an intimidating presentation. A more thorough look, supported by a typological frame of reference, might expose in turn that this disposition could be less tributary to a consistant irate mood than it would be to the expression of cognitive processes. Indeed, the contraction of the oculari muscles around the eyes which accompany the Ni-Se pairing often results in the brow being pulled up to the side, while the upper eyelid stays relaxed and lowered, hovering over a steady stare. Likewise, the pairing of Fi and Te may manifest through a constant tension from the lips to the nose, especially if it constitutes the primary oscillation of the type. In the case where Te is prevalent on Fi, the emotional radiance of this contraction is stifled under the cheeks, resulting in an overall stern composure. Thus, what we might perceive as somewhat of a "manic" expression may appear to be in fact the default expression of the TeNi/Edaver type.
Figure 1 : Charles Dance's "manic" expression
The further observation of filmed interviews should help us substantiate this assessment, while pointing to some nuances in the personal development of the individual. In this occasion, it becomes quickly apparent that Charles Dance is relying to a great extent on an oscillation between a lengthy gaze downward and to the side, "zoning out", and a fixed look on his interlocutor, with sometimes a quick glance upward. When the recall is seemingly more demanding, his brows frown into a scowl which contracts in the center, while his eyes stay in sharp focus. These elements suggest a noteworthy recourse to reactive/introverted abstract perception, abbreviated Ni.
Link to Figure 2 Figure 2 : Charles Dance's oscillation between Se, through fixation and upward glance, and Ni "zone-out"
In spite of its notable influence on the whole of mannerism, it would be hasty to conclude that this process should be leading the psyche over proactive logical judgement (Te). Firstly, one can see that Charles Dance's posture is particularly still, deprived for the most part of swaying or significant leaning. Secondly, every sentence and gesture in his speech emerges as deliberate and coordinated, oftentimes with the support of a persuasive nod. It is not to say that he never manifests excitability, but far from being overthrown by it, he stays on point, coherent and definite, so as to be in line with proactive judgement, which can also be referred to as "articulation".
Link to figure 4 Figure 4 : Charles Dance's supporting gesticulations
From there, we can gain more insight into the overall functional balance. Comparatively to more univalent Te-lead, his speech may come as slower, sounding somewhat nasal and imbued with warmth, although with less variation in tone compared to a Fe user. Instead, it transpires mostly variations on volume, especially to emphasize a decisive word, without departing itself of its factual and dispassionate air. Notwithstanding his ability to direct the conversation, and to sometimes accelerate to a great extent on the most obvious points, Charles Dance conversely follows some of his statements with a mindful breath during which his eyes disengage down or blink, while he keeps an uptight body. This indicates a notable contribution of the polar function, which in some occasion may even irradiate through the smile, to the point of appearing, in a quite unexpected fashion, as "giddy".
Link to figure 6 Figure 6 : Charles Dance smile and asymmetrical, giddy snarl
We can thus infer that, beyond the consideration offered by Ni "worldview", Charles Dance is comfortable with exploring his personal sensibility through his "compass" process, in this case reactive/introverted ethical judgement, abbreviated Fi.
In the end, it is seemingly the man himself who invites us to dissipate the superficial layer of presentation, as the following quote, given to the BBC in an interview about acting, would suggest :
Charles Dance : "If I was a different shape, and size, I would love to play Small weed in Bleak House. I'd love to play those characters, bits because it would just be enormous fun, and so far away from what I am perceived to be [...]. I'd like to do more and more different things, the rougher, the better."
Post by ayoungspirit on Feb 28, 2016 16:53:18 GMT -5
Again, I mentioned that I did not know any of the SiTe examples, so I elaborated about Steve Carell. I took advantage of the "interview" format of the Office to organize my article around the difference between his everyday persona and the one of his character, and set off an analysis of the performance. My argument may not always be technically on point, but I did want to suggest some way to accommodate a more casual approach, as most of us are all bound to do at first. This also lighten the overall weight of the read. Be assured that, someway along the line, I will describe a female celebrity.
By the way, Auburn , will it be possible, eventually, to reuse some of the book graphics, so as to explicit a technical point ? I might prefer this method over doodling the captures, but I would not mean to scatter your work. ___________________________________________________________________________________________
Long-time moviegoers and professionals alike would agree that, if a director wanted to enact a medieval feast, Steve Carell would be a strong candidate to play the "jester". Still, one cannot help but be a little surprised, at first, by the massive gap existing between his screen persona and his casual composure, not only from a moral standpoint, but also in sheer presence and mannerism. This, of course, can be credited to the art of acting, but a contribution from vultology could help us distinguish the complementary role of typological development in the rise of this duality.
Most of the television interviews available online are depicting a man who is strikingly quiet, almost self-effacing. Indeed, from a technical perspective, his energy curve can be described as recessive. Yet, even though his general posture could appear a bit uptight, it does not exactly stand still. When asked a complex question, it oftentimes animates through a discreet swaying, and holds a relic of momentum through inertia and viscosity. Likewise, his face is displaying in most occasions a notable scowl, with slanting outer edges, weighing on a steady, near-focused gaze, which sometimes softly toggles. Despite the eyelid being punctually lowered, the expression stays dull, in a way which may evoke confusion. The correlation of these signals strongly suggests reactive/introverted concrete perception, abbreviated Si, as a leading process.
With perception as the primary oscillation of the individual, the secondary pair of functions may appear less marked and thus not immediately clear, especially when the use is not regular. In these cases, the most telling clue might be spotted through the smile, which presently contracts in the center of the face, from the upper lips to the sides of the nose, without radiating an excess of emotion. From there, we might more confidently state that Steve Carell's voice exhibits a mostly dispassionate and monotone quality, and is accompanied by a swift, minimalistic gesticulation. On the other hand, one can discern a persistant tension resurging on the sides of the nose, and a hint of static warmth imbued in the tone, more so when acknowledging the moral compass of his characters. These observations in turn plead for the interplay of proactive/extraverted logical judgement (Te) and reactive/introverted ethical judgement (Fi).
Thus, Steve Carell's overall cognitive type can be referred to as SiTe/Medain. Accordingly, his conversation style often revolves around a factual recollection of events, more or less fluently reported. For example, in a 2015 interview about The Big Short, he gave the following pitch :
Steve Carell : "There is actually three separated groups, three separated teams, that are looking to short the housing market, and he inadvertently gets this information, based on, and this is true, based on a wrong number. Someone was calling a frontpoint, which was... there's another frontpoint on, like, floor 8, and it was floor 11, and so they thought they were reaching out to a different frontpoint partner, so Baum gets this call, and decide to follow up on it, on a lark [...]"
Like we previously prospected, it may be compelling to extend our functional assessment to some of Steve Carell's most emblematic performances, so as to progressively unveil the breadth of his personal expression. We can start by bringing our attention to the most infamous character of Michael Scott in TV series and mockumentary The Office, which adequately mirrors the format of our previous observations.
In fact, the superposition of interview sequences and collective sequences might expose a gradual exagerration, to the point of caricature, of the typical dynamics of the actor. Whereas the monologue still manifest a low energy, sometimes by whispering, we can already notice an emphasis on the proactive processes, which appears most notably through a more constant widening of the eyes and an unbroken flow. Then, it is in the characters exchanges that the polar function of the SiTe/Medain, proactive/extraverted abstract perception (Ne), really expand, through the boisterous act of parody.
Link to figure 6 Figure 6 : Steve Carell's proactive persona and parody
Eventually, a great portion of the show's comedy may rely on the playful but off-beat, if not properly innapropriate, association of trivia and logistics, as the following quotes would testify :
Steve Carell as Michael Scott : "Yes, I was the first one out, and yes, I heard "Women and children first", but, we do not employ children, we are not a sweat shop thankfully, and women are equal in the workplace, by law, so, I let them out first, I have a lawsuit on my hands"
Steve Carell as Michael Scott : "Guess what, I have flaws. What are they ? Oh I don't know, I sing in the shower, sometimes I spend to much time volunteering, occasionally I'll hit somebody with my car, so sue me. No, don't sue me, that's the opposite of the point I am trying to make"
In the end, playing against one's innate energy limitation might prove a lot of work, but for someone with a private emotional life, it may also be a way to connect with an audience, as justified by seven years of good ratings.
Post by ayoungspirit on Mar 2, 2016 11:24:29 GMT -5
Next up is Dwayne Johnson. Overall, I find interesting to evoke a bit of the type dynamic through the writing style, so I perhaps got a bit more assertive and moralistic in this one. More so, I used the opportunity to question a common assumption about social relationships and Fe, especially since we originally find it in Jung's Psychological type. Still, rather than making explicit conclusions, I preferred to left an opening, and incite the reader to investigate on its own behalf.
Beside, even though I am absorbing a variety of input during my production phase, I must admit that, in order to stay quick, I still mostly rely on tried patterns, so feel free to point a discrepancy between my assessment and the factual observation if you happen to find it. I do not mean to encourage confirmation bias. ___________________________________________________________________
Even though all cognitive functions should play a part in the outcome of social relationships, proactive/extraverted ethical judgement, also abbreviated Fe, may prove to be the most immediately responsive to interpersonal definition. In a variety of cultures, this might be considered a feminine trait. Since type distribution appears to be impervious to biological gender, this could raise the question of how an individual with Fe as a leading process should develop independently of this frame of reference. With the help of vultulogy, we may very well find such a person in Dwayne Johnson.
If we apply the criteria of typological signals to the wealth of his public appearances, Dwayne Johnson status as a Fe-lead should not raise much objection. Throughout the interviews, the man never misses an opportunity to compliment his audience with a radiant smile, which extends toward the ears without a hint of central tension. Likewise, his voice tone is rich and varied, alternating mostly between a warm swelling and a brief neutralisation, according to intent. Of course, the whole act would not be complete without the contribution of a purposefully coordinated gesticulation, which emphasizes the most significant aspects of the speech. Even in the most exciting setting, Dwayne Johnson's solid composure is not overthrown by his own proactive flow, and stay adequately on-beat.
Link to figure 2 Figure 2 : Dwayne Johnson smiles to his host, then to the audience, and quickly neutralize
If we were to remove the improvisational factor of live television for a couple of minutes, for example by examining the execution of his scripted masterclass about depression, we might see the Fe process in its most clear state, fully dedicated to the communication of its ethical dynamic, not even wasting a breath.
Although not a signal per se, one may consider as a potential refinement of the process the manner in which Dwayne Johnson has introduced his public to a very specific face expression, so as to create a distinct, recognizable look for his wrestling persona.
Link to figure 3 Figure 3 : Dwayne Johnson's trademark eyebrow raise, from his wrestling persona, "The Rock"
Due to its intricate sensibility toward social response, the prevalence of Fe may produce a varied persona depending on the public. Here, we can catch sight of the manner in which this complex mechanism is impacting the expression of the other cognitive functions of the individual, perhaps making difficult to pinpoint his development. When in front of a blazing audience, Dwayne Johnson is seemingly contaminated by the atmosphere and, as his eyes start actively toggling, he expresses a profusion of tenuously organized ideas, putting his capacity for articulation to the test. This may suggest a strong influence of proactive/extraverted abstract perception (Ne).
Link to figure 4 Figure 4 : Dwayne Johnson's eyes are smoothly toggling
On the other hand, when asked to reflect about his life experience in a more intimate occasion, he demonstrates a more dispassionate, meditative state, evidence notably by longer, more frequent pauses and heavier blinking, both indicative of his polar function, reactive/introverted logical judgement (Ti), but also by a recurring drift of the eyes downward and to the side, accompanied by a scowl with slanting outer edges, indicative of reactive/introverted concrete perception (Si).
Link to figure 5 Figure 5 : Dwayne Johnson's eyes are drifting to the side while he keeps a concentrated scowl
Two major modalities which help broaden our functional understanding of Fe are defined as "adaptive" and "directive". Again, some cultures may be inclined to interpret this dichotomy as comparable to the one between "feminine" and "masculine". Nonetheless, it appears that, for a of people, both modes are seemingly difficult to pull appart. In our case, we could maybe attribute Dwayne Johnson's forward approach to advice and overall assertive personality as a mean to give ethical direction to his environment, to "shepherd" others, notably through the moral criteria of "success". Yet, whereas some other people would be quick to declare themselves successful on their own, through fick and thin, Dwayne Johnson is seemingly more concerned about collective recognition. Likely to help in this prospect, he does not refrain from playing along his partners or emulating their behaviors, particularly by laughing ostentatiously at the entertaining jokes, before pushing for an appropriate comeback. His overall development could therefore be referred as the "charismatic charmer" shade of the FeSi/Alemer type.
Link to figure 6 Figure 6 : Dwayne Johnson overtly laugh at George Lopez's banter, before launching his witty retort
In any case, even though it is a versatile tool, having Fe as a leading function is not a spontaneous recipe for public success. According to retrospectives from David Shoemaker and Leonardo Splinter, Dwayne Johnson first attempt at showmanship in wrestling, through the character of "Rocky Maivia", was deemed "an epic failure" by the man himself. After enduring being being consistently booed on the ring, he managed to adapt himself by turning his "babyface" into a villainous "heel", paradoxically getting more cheers by being hostile. It may have help that, when prevalent Fe-users simply rest their face, the residual tension of zygomatici muscles is evoking somewhat of an "upset" look.
If you wish to examine an even more exacerbated example of this FiSe/Alemer development style, you can take a look at Terry Crews.
Post by ayoungspirit on Mar 5, 2016 14:28:17 GMT -5
Here comes Norman Chan. Since I did not know him beforehand, and I expect a lot of people will be in the same case, I presented his typing as an illustration of the more casual, opportunistic application of vultulogy, with some of its benefits and limitations. This allowed in turn to more explicitly point out the diversion with a more scientific caution, and to end on a methodological incentive, to properly link vultology and psychology, which I would like to see developed in a general article. Overall, the style is perhaps a bit too wordy for its subject matter, but it is at least consistant with the type, and I am not yet comfortable with the issue to be able to properly simplify it. Nevertheless, feel free to point any unreadable sentence, especially from the introduction or conclusion.
I hope to produce a post for most, if not all leading processes, before the release. If I got some remaining time, I consider to initiate more methodological articles, so as to help clarify some perspectives, before everyone take a shot at it. This way, I guess, could favor the emergence of both an accessible and a more intricate approaches, without loosing substance. ________________________________________________________________________________
Thanks to its gradual set of observational criteria, one inherent strength of vultology lies into its relative immediacy. The study of typological signals should thus be of great help as an additional tool in the scientific definition of psychology. Furthermore, it may allow for a more empirical, and subsequently personal approach to take place, not in contradiction with verified knowledge, but as a complement, notably where its methodological constraint is unable to be arranged. Anyone might appreciate to get some preliminary insight into the mind of a distant relative or an unknown speaker, for whom there might not even be accessible biography or interview. Television and the Internet are abounding with these humble contributors, such as Norman Chan.
Nevertheless, it would be hasty to consider that, because the operation is informal, it becomes at once easier. In contrast with other more renowned or cooperative personalities, for whom there might be a variety of material to choose from and compare, the sample relating to a passing unknown might be considerably restricted, and lacking clarity. Therefore, to get a better chance as tackling it, one should be both exacting with signals and familiar with limiting factors, to the point of being ready to suspend judgement altogether, or to set on a hypothetical, if not partial guess. Every detail, including the most intricate, will need to be acknowledged in order to consolidate a reasonable assumption.
In the case of Norman Chan, we can notice that the simple fact that his face is obfuscated by a microphone in some of the more informal videos is reducing considerably their typological value. This leaves us mostly with his reviewing presentation, which displays a high resolution image, but is then tributary to performance. Fortunately, it appears in this case like in many others that the artificial aspect of the setting is not confining the expression of the type, but mostly modulating it.
Link to Figure 1 Figure 1 : Norman Chan's face is masked by his microphone
From the get go, it is obvious that Norman Chan is willing to convey some energy through his delivery. However, a more nuanced observation might underline that his whole body appears to keep some residual rigidity, which manifest mainly through a jerky gesticulation.
Where he succeeds the most, perhaps, is in deploying a rich voice tone, which nevertheless regularly wane through momentum halting, with brief but notably dispassionate pauses. In fact, if one refer to the emotional intent anticipated by the host, one can be surprised by the disproportion between his hyperbolic statement and the emotion suggested through his face.
Link to Figure 3 Figure 3 : Norman Chan's face expression when saying that he is "super excited"
Overall, even though a pleasant communication is conscientiously maintained, the expressive range is strikingly modest, notably in term of smiles. It is as if Norman Chan was meaning to expand toward its audience, but his energy was systematically receding into his body, resulting in a series of pushes. This could be most visible through his hands, as they extend hesitantly and quickly come back on his side, with very stiff upper arms and shoulders. This strongly suggests a type with reactive/introverted logical judgement, abbreviated Ti, as a leading process, and proactive/extraverted ethical judgement, abbreviated Fe, as a polar process.
Since eyes are not the most prominent aspect of a judging-lead type mannerism, it can be a little bit more demanding to identify the secondary perception oscillation, more so when the protagonist is actively trying to track the camera, or simply turned in another direction from the viewer perspective. First, one should not confuse a common physical feature such as descending eyelid shape, with the active muscle contraction of reactive/introverted concrete perception (Si). Actually, from the fact that they do not toggle, but only drift to the side and come back to fixate the prospective audience in a steady fashion, one can gain confidence in its claim that they alternate from a far-focused, hypnotic stare, with lowered upper eyelid, to a more open, intense stare, often accompanying excitation and explorative handling.
Link to Figure 5 Figure 5 : Norman Chan's far-focused gaze next to his alert, open eyes
Again, the wearing of glasses is making obtaining a proper scowl a enterprise, but with patience, one can capture what appears to be a center contraction with a sharp gaze. All this can be put forward as evidence of proactive/extraverted concrete perception (Se) and reactive/introverted abstract perception (Ni) pairing, which determines the overall type as TiSe/Alevin.
Link to Figure 6 Figure 6 : Norman Chan's presumed scowl next to his resting face
This example should illustrate the universal appeal of vultulogy. Yet, the obstacles encountered along the way should also highlight that its practice is comparably as accessible as it is rigorous and precise. This might be especially remembered when transitioning from external observation to speculations about the corresponding mind states, which often constitute the core of one's personal concern. This is the reason a dedicated article, with its own proper epistemology, should probably be considered, if one were to elaborate thoroughly on the particular influence of the previously mentioned cognitive processes in the technical and hand-on style of Norman Chan's reviews. In the meantime, one is also admittedly justified in referring to its personal conclusions.
Post by ayoungspirit on Mar 13, 2016 14:45:32 GMT -5
With Björk's profile, I tried undertaking two format demands. I began with the theoretical clarification of a process, so as to dissipate potential misconceptions, whatever their provenance. I further concluded by acknowledging the potential psychopathological connection, but in a somewhat intricate move, I choose to open the subject, and almost immediately shut it down, so as to suggest that some grounds are to be tread carefully and with restraint, especially on the Internet. Nevertheless, I believe it will be eventually necessary to round up the overview of the type by approaching a more "adjusted" shade of the Fi-lead, since understanding Fi and Fe social dynamics to the full extent is one of the most immediately appreciable challenge of typology.
By the way, Auburn , I believe I am not mistaken in thinking that, even though the draft of the book is done, you are still open to constructive criticism. Notwithstanding the unquestionable quality of the writing, notably the blend of insight and reserve, I find that your most significant conclusion about the autistic spectrum is still a bit assertive, a bit "jungian" perhaps, at least from someone who lacks both the academic authority and the experimental proof : "Many mild, and some moderate, diagnosis emerging from the DSM can be attributed wholly to improper development of the eight cognitive functions and their resolutions lie not in some medicinal regime, but in a proper psychotherapy."
Beside, I would be curious to have a more elaborate account of your view, perhaps an exchange, on the relation between emotion, alexythimia and the Ti-Fe oscillation. ______________________________________________________________
One specific aspect of vultology, drawn from its roots in the Jungian description of types, is its attention toward the orientation of consciousness. For each of the four discriminated processes (Ethic, Logic, Abstraction, Concretion), there is the distinct possibility of being proactive, directed at the environment, or being reactive, directed toward the individual. In the case of the general process of Ethic, which filters the information according to a refined criteria of values pertaining to good and bad, it means that the individual will be either inclined to favor its own inner compass, or to accommodate to the external context. While the latter may lead to an acute sense of sociability, with the risk of losing one's integrity, the former, with its focus on a self-defined principle, may produce a conversely off-beat, if not properly eccentric presentation. It can become especially apparent when the process is leading the whole psyche, without being uniformly tempered by the accompanying criteria of proactive Logic. Thanks to the medium of video interviews, we might find such a unique individual in Björk Guðmundsdóttir, also known simply as Björk.
Since it would be improper and potentially misguiding to base an assessment only on a superficial behavior, one should preferably calibrate its observations according to typical signals. Although it is less notable in later material, one can immediately discerns Björk's characteristically airy voice, which is a first clue of the prevalence of reactive/introverted ethical judgement, abbreviated Fi. Moreover, by watching the appropriately named "Television Talk" from 1988, even the casual spectator could become distracted by the sheer amount of accidental face expressions occurring along her speech. Link to figure 1 Figure 1 : Bjork's uncoordinated expressions
This should be enough incentive to proceed to a more technical narrowing of the type. Contrary to the reactive/introverted logical judgement (Ti) process, which corresponds with an internal state of detachment, the continuous emotional tension within the prevalent Fi user's consciousness is translating through an involuntary contraction of the muscles between the upper lips and the sides of the nose, evocative of a pained expression.
Link to figure 2 Figure 2 : Bjork is displaying tension on the sides of the nose as well as an asymmetrical expression
When the person smiles, sometimes very privately like is the case with Björk, this contraction is pulling the movement upward, oftentimes resulting in a more or less pronounced snarl and bulging cheeks. Whereas a prevalent user of proactive/extraverted logical judgement (Te) would stifle the emotion on the lower part of its face, the prevalent Fi user cannot help but have it radiating freely.
Due to the innate polarity of its judgement, the Fi process can itself present two different countenances, depending on the nature of the emotion which is predominantly emitted. If the perspective is negative, the individual will display an expression evocative of contempt, injury and haughtiness. Conversely, if it is positive, it will appears more innocent, delicate and sprite-like. With respect to anglo-saxon mythology, one can refer to these dispositions respectively as "unseelie" and "seelie". Due to the performative element of Björk occupation, one cannot fully attest of the representativeness of the sample toward the individual's whole psyche, but the persona on display is admittedly relevant to the seelie side of Fi.
Notwithstanding its manifest predominance in the presentation, it is eventually by observing the direction of energy that one can determine the process as leading the primary oscillation of the type. Whereas an individual characterized by proactive/extraverted perception (Pe) would entertain by itself a more consistant flow of energy, one can see in a reactive/introverted judging type (Ji) that, without external stimulation, the momentum is quickly receding toward a motionless position. Even when excitation is palpable, the body is keeping a rigid quality from the waist to the top of the head, which translate to an alternation of exerted push and pull.
Link to figure 4 Figure 4 : Bjork's body is exerting a push forward before falling back
Communicative gestures, notably from the hands, are kept very close to the body, so as not to disrupt the alignement of the inner compass.
As can be common with the secondary oscillation, the signals of perception are less clearly discernable. First and foremost, one should be careful not to confuse the overall innocent look of the seelie Fi-lead with what we usually refer as the "naive eyes" of proactive/extraverted abstract perception (Ne), nor to conclude that the imaginative content of the speech is demonstrating a matching cognitive process. In fact, the only tangible clues are pointing toward proactive/extraverted concrete perception (Se) as a secondary function. Compared to the recurring eye-toggling of a prevalent Ne user, Björk's gaze is steadily alternating between drifting to the side and fixating on the interlocutor or object.
Link to figure 6 Figure 6 : Bjork alternates between drifting and fixating
Upward looks are swift, and even though scowls are almost unreported, the most acute stares evoke an intense, tactile access to information, without a hint of slanting edges.
By summing up the observations, one can thus refer to Björk Guðmundsdóttir as FiSe or Edavin. Her focus on expressing the "soul" of the individual through vivid imagery could even be considered emblematic of an "indie Artist" development, which can be similarlyattributed to Eithne Patricia Ní Bhraonáin, also known as Enya, or the late Michael Jackson.
Browsing through the material may evoke to the inquisitive reader some overlapping threads with the intricate diagnostic criteria of autism. After all, the individual herself has been appropriating the adjective for her own description, for example in an 2011 interview given to the Rolling Stone magazine about her cross-platform project Biophilia :
Björk Guðmundsdóttir : "I think I'm probably semi-autistic or something – I'm just obsessed with riddles. It felt like the music industry was off the grid, and I wanted to solve the riddle."
While significant to mention, this connection should ultimately be handled through medical discipline. One can only hope that the pursuit of thorough consideration by mean of adequate tools might on the long-term help better discern candor or artistry from other mental conditions.
It's an attempt to communicate a general approach to quieting the mind and introspection. Any feedback would be greatly appreciated ^^ Feel free to be brutal, I'm sure my suggestions could be improved upon a lot.
I have 6 other articles for the growth section I'm working on, mostly about determining the development of one's functions and potential methods for strengthening the development of each of them and of the collaboration between judgement and perception. I'll post them as I get them completed, and update here.
Post by ayoungspirit on Apr 1, 2016 17:36:27 GMT -5
I will have to think hard about being brutal on this. Your writing style has a good blend of progressiveness, delicacy and self-containedness, which applies very well to such a self-aid. This kind of article could become truly seminal to the growth section, and I am quite simply happy there is more in the work.
If I were to furiously search room for improvement, I could find two areas which may stand out. The first one is the indicative length of time for withdrawal. Some people, perhaps the ones who would benefit the most from your advice, may already find setting up one hour, or half an hour more than an adequate challenge. Since this is only the first step, it might also discourage them a bit from following through with the remainder.
The second one is the list of suggestions for questioning. While I find most helpful to make such a list, the fact that the elements are leaning on the abstract side may again prove to be demanding on some beginners. I do not know if this is ultimately a better approach, but I notice that oftentimes, such questions are exemplified in a direct manner. Perhaps an example between brackets would be operational ? Or a list of examples below ? Still, I would not mean to break your flow.
PS : now that the website is on, feel free to relocate my drafts elsewhere. I am afraid the sheer volume would deter readers from giving to your own articles the attention they deserve.
Last Edit: Apr 2, 2016 3:51:11 GMT -5 by ayoungspirit
ayoungspirit - wow, I wasn't expecting such positive feedback o.o I think I tend to be very self-critical when it comes to writing/articulation. I'm really glad you like the style and see usefulness in the content, though, that gives me encouragement in continuing to produce content!
I can see what you mean about the intensity of my suggestions; they are biased toward someone with a lifestyle that would allow for ample time for retreat, as well as those with a tendency to think abstractly. This is certainly the influence of my own subjective perspective, and it's great to have an outside opinion to balance that out. I think I'll add to the article encouragement toward self-auditing of behaviors and emotions. Although, such a thing can be distracting if one has a job or other situation which demands intent focus, but I think in general most of us have times where we're operating on auto-pilot where we could potentially be directing thoughts toward self-analysis. I'll write something up and see how it turns out.
As for the list of questions.. I wasn't sure how exactly to approach them. I'd like to make suggestions that would tend to prompt self-analysis on a fairly universal level, but the truth is I only really have my own experience to draw from. I don't know if you have any ideas for what questions would be useful? Or perhaps I could find some articles by psychologists on the topic..
Thanks so much for the feedback, it really helps refine things to have more than one perspective ^^
By the way, Auburn , I believe I am not mistaken in thinking that, even though the draft of the book is done, you are still open to constructive criticism. Notwithstanding the unquestionable quality of the writing, notably the blend of insight and reserve, I find that your most significant conclusion about the autistic spectrum is still a bit assertive, a bit "jungian" perhaps, at least from someone who lacks both the academic authority and the experimental proof : "Many mild, and some moderate, diagnosis emerging from the DSM can be attributed wholly to improper development of the eight cognitive functions and their resolutions lie not in some medicinal regime, but in a proper psychotherapy."
I felt like I kinda dodged this question... but I've just been so preoccupied with other things. ^^
I also wrote a long reply to this, before I realized the essence of what you're saying, which is that my statement asserts a conclusion that would need to emerge from studies already conducted; which haven't been. So this...
"Many mild, and some moderate, diagnosis emerging from the DSM can be attributed wholly to improper development of the eight cognitive functions and their resolutions lie not in some medicinal regime, but in a proper psychotherapy."
Is really trying to say:
"We may discover thatmany mild, and some moderate, diagnosis emerging from the DSMare due to improper development of the eight cognitive functions and their resolutions lie not in some medicinal regime, but in a proper psychotherapy."
I hope this answers the dilemma! ty for pointing it out
Beside, I would be curious to have a more elaborate account of your view, perhaps an exchange, on the relation between emotion, alexythimia and the Ti-Fe oscillation.