#jungian typology

[rosquinn]

typology is so funny because you can literally excuse everything with it. your honor it's true that my client committed attempted genocide but have you considered he's a if(s) 4w3 sx/so 486 efvl therefore a potential hater

[noferrah]

Jung Never Intended the Auxiliary to Have the Opposite Attitude

Last post, I spent a good chunk of it focusing on the notion that Isabelle Myers misinterpreted Carl Jung about what he thought the attitude of the auxiliary function is. Because I made a pretty strong claim there and because I don't wish to leave it unbacked for too long, I decided to take care of it now (and besides, I did kinda promise to make a post like this anyway).

I will first quickly outline the bare minimum basics of Jung's model, supported by quotations. Then, I'll bring it all together with simple logical deduction and we shall see what we find in the end; I claim that what we'll find is that, under Classic Jungian, the auxiliary function of the typical individual shares an attitude with the dominant function.

The bare-bones basics of Jung's model

Jung proposed two different "attitudes", which are essentially distinct 'orientations'. One is an orientation towards "the object" -- the extroverted attitude (or extraversion, depending on your preferred spelling,) and the other is an orientation away from the object and towards "the subject" -- the introverted attitude. To quote Jung:¹

Extraversion means an outward-turning of [psychic energy²]. With this concept I denote a manifest relatedness of subject to object in the sense of a positive movement of subjective interest towards the object. Everyone in the state of extraversion thinks, feels, and acts in relation to the object

Chapter XI, p.g. 542³

Curiously, "Everyone in the state of" implies that attitude as such is a kind of mode one can be in. Now, introversion:

Introversion means a turning inwards of [psychic energy,] whereby a negative relation of subject to object is expressed. Interest does not move towards the object, but recedes towards the subject. Everyone whose attitude is introverted thinks, feels, and acts in a way that clearly demonstrates that the subject is the chief factor of motivation

Chapter XI, p.g. 567

We again see that attitude is a matter of one being in a particular state, though it's not as strongly implied here as with the previous excerpt. We can settle this ambiguity by looking at Jung's definition of "attitude":

. . . attitude is a readiness of the psyche to act or to react in a certain direction.

Chapter XI, p.g. 526

This not only seals the deal on what attitude is, but it even specifies on what it applies to. The operative word is "psyche", and not, say, "function".

We can also presume the two attitudes, extroversion and introversion, are primary when it comes to psychological type as, in Chapter X, not only are Jung's pure type descriptions (it will be addressed what exactly a "pure type" is later in this post,) sectioned off into an introverted and an extroverted category, but in the book's very introduction, Jung opens by talking about, of all things, the Introverted and Extroverted types:

IN my practical medical work with nervous patients I have long been struck by the fact that among the many individual differences in human psychology there exist also typical distinctions: two types especially became clear to me which I have termed the Introversion and the Extraversion Types

Introduction, p.g. 9

The next core aspect of Jung's model are the psychic functions, or "psychological functions" (I will continue to only say "psychic function" for the remainder of the post). Let's see what Jung says a psychic function is:

By psychological function I understand a certain form of psychic activity that remains theoretically the same under varying circumstances.

Chapter XI, p.g. 547

Simple enough. How many functions may there be, Jung?

I distinguish four basic functions in all, two rational and two irrational--viz. thinking and feeling, sensation and intuition.

Chapter XI, p.g. 547

The way this is worded, it could be interpreted in one of two ways: either Jung is definitively saying that there's only four functions total, or he means that these are merely the "basic" functions and that there's ultimately more overall. We will settle this ambiguity later.

The third core aspect is one that is easily forgotten about, but is at least just as important as it intermingles with the other two very intimately. This aspect is 'consciousness' vs 'unconsciousness'.

An important thing to clarify from the outset is that Jung's conception of what the word "consciousness" means is different from many other definitions attributed to it. To quote Jung:

By consciousness I understand the relatedness of psychic contents to the ego . . . in so far as they are sensed as such by the ego

Chapter XI, p.g. 535-536

"ego" here is not meant in the colloquial sense of 'self-importance', but instead means something different:

By ego, I understand a complex of representations which constitutes the centrum of my field of consciousness and appears to possess a very high degree of continuity and identity.

Chapter XI, p.g. 540

In other words, the "ego" is that thing which is reading these words right now. That is, it is essentially you. This then means that, for Jung, consciousness is simply whatever part or parts of your psyche you are most aware of. Therefore, unconsciousness is that area of the psyche which you, the ego, is unaware of.

An easily-understood example of these concepts is memory. Before a memory of yours is recalled, such as your memory of whatever you had for breakfast yesterday (if you do not remember and/or did not have breakfast yesterday, pretend otherwise for a moment -- pretty please,) it was not present within your field of awareness; it was unconscious. However, the moment I mentioned such a memory to you, it suddenly sprung to the forefront of such awareness, and so it became conscious.

As such, the psyche is divided into two parts, the conscious and unconscious sides. Likewise, this applies to every other part of Jung's typology. For this reason, consciousness and unconsciousness are two of the most important things to understand about it, and so you're encouraged to consider the following few paragraphs carefully, perhaps more so than any other on this post. In Chapter X, Jung describes "the general attitude" of both consciousness and unconsciousness for the extroverted and introverted types. We will use the former one as an example. For the extroverted types, he writes,

His entire consciousness looks outwards to the world, because the important and decisive determination always comes to him from without . . . Interest and attention follow objective happenings and, primarily, those of the immediate environment

Chapter X, p.g. 417 (Bold emphasis added; italics are of the original text)

Without a doubt, the attitude of consciousness for such kind of type is extroverted. This much was expected. However, for the unconscious side, it seems quite different:

The attitude of the unconscious as an effective complement to the conscious extraverted attitude has a definitely introverting character.

Chapter X, p.g. 422 (Emphasis added)

Why would an extroverted type's unconscious be introverted? Jung explains,

I regard the relation of the unconscious to the conscious as compensatory . . . It is only to be expected, therefore, that a psychic compensation of the conscious extraverted attitude will lay especial weight upon the subjective factor

Chapter X, p.g. 422 (Emphasis added)

In other words, Jung indicates that the unconscious's own nature serves as a compensation to the nature of consciousness. When the conscious is one way, the unconscious will be the exact opposite way. In the case of an extroverted type, since the consciousness of such is extroverted, the unconscious compensates for this by assuming an introverted nature. And an analogous situation is found with the introverted types as well:

The superior position of the subjective factor in consciousness [for the introverted types] involves an inferiority of the objective factor . . . a compensation naturally develops under the guise of an unconscious reinforcement of the influence of the object

Chapter X, p.g. 477-478 (Emphasis added)

Now, we will see how the concept of unconscious compensation applies to the psychic functions. Recall that Jung proposed four "basic" functions: Thinking, Feeling, Sensing, and Intuition. These functions have a very particular relationship with one another. The former two, Thinking and Feeling, are what Jung called the "rational" functions, while the latter two are designated the "irrational⁴" functions. What exactly those words mean is inconsequential in regards to the point being made here, and so the terms will not be explained in detail. The important thing to note about the groups is that, for each one, the two functions within are diametrically opposed; total opposites. For example, while describing Feeling, Jung says,

. . . thinking belongs to a category quite incommensurable with feeling.

Chapter XI, p.g. 545

And,

. . . [feeling's] nature stands in too strong a contrast to thinking. Thinking, if it is to be real thinking and true to its own principle, must scrupulously exclude feeling.

Chapter X, p.g. 514

The same tenet also applies to Sensing and Intuition.

It is important to note that this inter-function conflict is not as pronounced when one rational function and an irrational function are considered:

Neither intuition nor sensation are antagonistic to thinking, i.e. they have not to be unconditionally excluded, since they are not, like feeling, of similar nature, though of the opposite purpose, to thinking--for as a [rational] function feeling successfully competes with thinking -- but are functions of perception, affording welcome assistance to thought.

Chapter X, p.g. 515

Anyway, as with extroversion and introversion, there is the concept of opposites at play. As one might expect, this also implies that psychic functions relate to consciousness and unconsciousness in a very similar manner as the attitudes do.

If you're familiar with Pop-Myers-Briggs, or any other similar typology, you likely already know the idea of "function stacks". Jung never explicitly talks about such type of concept, but he does talk about three aspects of it: the "dominant", "auxiliary", and "inferior" functions (if you're going, "Where's the other one?" don't worry, we'll get there.)

The dominant and inferior positions are the ones most elaborated upon by Jung. In fact, the eight type descriptions found in Chapter X of Psychological Types are what he calls the "pure types": a type with only one function -- that is, the dominant one -- present in consciousness. As for the non-pure types, the auxiliary only receives a passing mention. To quote:

In the foregoing descriptions I have no desire to give my readers the impression that such pure types occur at all frequently in actual practice . . . Accurate investigation of the individual case consistently reveals the fact that, in conjunction with the most [conscious] function, another function of secondary importance, and therefore of inferior differentiation in consciousness, is constantly present, and is a relatively determining factor.

Chapter X, p.g. 514 (Emphasis added)

In other words, for the average person, consciousness has a total of two "basic" functions: the dominant function and the auxiliary function. If you're familiar with the function "stacks" of the Pop-Myers-Briggs system, you may recognize that they share a very similar pattern with Jung's own theory here. You may also be wondering where the other two functions are. Well, at least one of them, the inferior, is also here in Classic Jungian, except for one major difference: it is unconscious.⁵

Recall that when consciousness is extroverted, unconsciousness is then introverted. A very similar case happens with the functions. When Feeling is dominant, the unconscious compensates for this by taking on the Thinking function as its own "dominant" -- this does not mean that there are two dominant functions per se, but simply that the inferior function is the unconscious equivalent of consciousness's own dominant function. For example, the case of Jung's pure Extroverted Thinking type:

Since feelings are the first to oppose and contradict [extraverted thinking], they are affected first by this conscious inhibition, and upon them the most intense repression falls . . . Should the repression succeed, it disappears from consciousness and proceeds to unfold a[n unconscious] activity, which runs counter to conscious aims

Chapter X, p.g. 437-438

Now, although Jung only mentions these three positions -- dominant, auxiliary, and inferior, we can yet deduce that there must also exist an additional one as well, sitting between the auxiliary and inferior. If the dominant function has an unconscious counterpart found in the inferior function, then the auxiliary then must as well have its own counterpart also found within the unconscious. You may already know this as the "tertiary" function.

To sum up, the typical, fully developed psyche's function-arrangement within Classic Jungian goes like so:⁶

Dominant - Auxiliary <> Tertiary - Inferior

The "<>" separates the conscious (left) from the unconscious (right).

Following this general structure, here's an example of a Sensing type with a Thinking auxiliary:

Sensing - Thinking <> Feeling - Intuition

Bringing it all together

To recap, there are two different "attitudes"; two opposing modes of orientation regarding the world. One is a positive orientation to the object, extroversion, the other a negative relation to the object, introversion. Both modes apply to the psyche of each type, but in a dialectical manner, such that when the conscious side is of one mode, the unconscious finds itself in the exact opposite mode.

Additionally, Jung delineated four "basic" psychic functions: Thinking, Feeling, Sensing, and Intuition. The first two are designated as "rational", the other two "irrational". A function of one given category is mutually opposed with that of the same category, and therefore when one of them is conscious, the other is unconscious. However, this conflict does not apply as such across categories, and so, for instance, when there is an irrational function as the dominant function, there can be a rational auxiliary, which, like the dominant, is also conscious.

Now, the punchline.

As the two attitudes apply primarily to the psyche and not the functions themselves, and as the manner in which they apply to the psyche is dialectical and one-sided in nature -- meaning, the conscious side can only ever be either extroverted or introverted, not both at the same time, and the unconscious must have the opposing attitude to consciousness -- this unequivocally necessitates the fact that, under Classic Jungian, the auxiliary function has to be under the same attitude as the dominant function, and vice versa. So, if there is an Introverted Intuitive type with a Feeling auxiliary, both Intuition and Feeling must share the same attitude; for either to differ in attitude would mean consciousness has two attitudes at once, which is impossible given the parameters of Jung's model as previously stated. The same logic applies to the unconscious side of the function-arrangement, i.e., the inferior and tertiary functions share an attitude as well.

Addressing potential counterpoints

I will now address two certain arguments against my conclusion that I anticipate being made.

Counterargument #1: As alluded to earlier, one could point to Jung qualifying the four functions as the "basic" ones to mean that there are ultimately eight. That is to say, the four functions Jung describes would be the 'base functions', with each of them having two derivative forms: one extroverted, one introverted. This opens the door to there existing functions that have attitudes independent of both consciousness's and unconsciousness's overarching ones.

However, this is very unlikely. In Chapter XI of Psychological Types, which Jung dedicated to exhaustively defining his terms in detail, no entry for something like "introverted feeling" is to be found; there are entries for the four functions only. If he indeed thought there were ultimately eight functions in total, why does he not have definitions for both the supposed 'base functions' and their derivatives? Furthermore, Jung specifying that the functions remain "theoretically the same under varying circumstances" contradicts the notion of there being such derivative functions, as for something like Thinking turning into Extroverted Thinking would suggest that Thinking's intrinsic nature has changed as a result.

Counterargument #2: In Jung's Psychological Types, near the end of Chapter X, he proclaims this:

For all the types appearing in practice, the principle holds good that besides the conscious main function there is also a relatively [conscious⁷], auxiliary function, which is in every respect different from the nature of the main function.

Chapter X, p.g. 515 (Emphasis added)

Many, including Isabelle Myers, have taken "in every respect" to mean the auxiliary must be the opposing attitude to the dominant. However, this is also unlikely. Before where the previous quote was taken from, we find this:

Naturally only those functions can appear as auxiliary whose nature is not opposed to the leading function. For instance, feeling can never act as the second function by the side of thinking, because its nature stands in too strong a contrast to thinking.

Chapter X, p.g. 514

Upon careful consideration, it is clear that by "nature", Jung is referring to the 'rationality'/'irrationality' of a function. If he meant something other than that, one would expect him to also mention the two attitudes. This is not even withstanding the fact that, as established earlier, attitude only applies to the psyche, not functions, and so neither extroversion nor introversion could be part of a function's intrinsic nature anyway.

Closing off

As one can readily see (hopefully) from my argumentation, given the core aspects of Classic Jungian, the auxiliary function's attitude for every one of the sixteen types matches that of the dominant function. To say otherwise is to simply misunderstand the very fundamentals of the system.

It may be helpful to combine the overarching argument presented in this post with Akrhomant's own post on this subject, as it mentions things I haven't touched upon here. Taking all of his points into consideration alongside my own, I'd say there's zero to no leeway for thinking the auxiliary's attitude mismatches the dominant's.

---

FOOTNOTES:

All quotations are from a certain copy of “The Collected Works of C.G. Jung, Volume 6: Psychological Types”. You can find it here: https://archive.org/details/Vol06PsychologicalTypes/

The original quotation says “libido”, but Jung defined such a word in a manner equivalent with the general concept of psychic energy, which can involve sexual desire, but does not always involve it.

All emphasis -- italics, bolded text, or otherwise, is of the original text for all quotations unless otherwise specified.

Jung did not say the word “irrational” to mean something against reason, but rather meant it as, quote, “something outside the province of reason, whose essence, therefore, is not established by reason.” (Chapter XI, p.g. 569). A more suitable term for such a concept would perhaps be “arational”.

Some interpretations of Pop-MB may have some concept of the inferior being unconscious, or at least being related to the unconscious, but it’s not that common and is certainly not very well-emphasized as shown here in Classic Jungian.

Somewhere just before or around the age of adolescence, or after in the case of an atypical psychology, the function-arrangement under Jung’s original typology may (theoretically) look different. For example, the arrangement matching that of one of the eight pure types -- that is, one conscious function and three unconscious functions.

The original text says “unconscious”. However, this is a known translation error; the source text, Psychologische Typen, says “bewusste“, which is German for ‘conscious’. For this reason, I have corrected it here.

[cordelia-archer]

Everyone keeps saying Anthony Lockwood is an ENFJ not an ENTJ because he is empathetic, emotionally supportive, sweet, constantly caring... But HEAR ME OUT, Anthony Lockwood is DEFINITELY an ENTJ!!!📣

Generally, ENTJ is described as "Decisive, Strategic, Organized, Energetic, Articulate", which is the perfect description for Anthony Lockwood.

To be more specific, we can look into the 2 functions that separate an ENTJ and an ENFJ:

📍1. Te as primary function:

📍Lockwood makes it quite clear that he cares about efficiency the most. That's why he left for the case before George finishes his research and is complained repeatedly by George because of how he does everything so fast, without enough preparation.

📍Lockwood is relentless, achievement-oriented, action-oriented, and is described as the exact opposite to George, an INTP (we all know that ENTJ and INTP have the exact opposite functions).

ENTJ: Te, Ni, Se, Fi

INTP: Ti, Ne, Si, Fe

"In many ways, Lockwood was the complete opposite of George,... He had no interest in the mechanics of ghosts, and little in their individual desires or intentions. All he really wanted was to destroy them as efficiently as possible." (from book 2)

Lockwood doesn't care about exploring and figuring out how things work, what causes the Problem,... He just wants to focus on the next goal, get work done in the most efficient way, wants to achieve, to make Lockwood & Co. become the best agency and so on. He is impatient with what he perceives as inefficient, which is spending a lot of time on preparing and researching like George always does. His Te primary function is obvious when compared with George's Ti primary function.

📍However, this doesn't mean he doesn't care about others' well being and feelings. You all need to stop saying Lockwood is an ENFJ because he has golden retriever energy, he is sweet and caring, etc... WHY CAN'T AN ENTJ BE EMPATHETIC, ENCOURAGING AND SWEET? An ENTJ is so much more than those harsh, controlling freak ENTJ stereotypes. Have you seen Gordon Ramsay, an ENTJ, spending time with kids and his own daughters? He's also really sweet, supportive and encouraging when the kids make mistake and stressed out.

Having said that, it doesn't mean Lockwood isn't being a jerk sometimes. Because of his Te primary function, he ignores Lucy's words to leave her out of public attention and go on to talk about to talent in order to promote his agency. Lockwood also left for the case without waiting for George and his research, leading to their enormous debt, just because of the same reason: his Te primary function.

📍2. Fi as inferior function

📍"Fi is ENTJ's last function. Fi helps them to assess situations to see how things match up to their values and beliefs. They may think of their Fi as their “gut instinct”. It helps them learn to be sensitive to the values and feelings of those around them. It can act as a warning system when they think a decision makes sense logically, but somewhere inside, Fi is the alarm saying it’s a bad idea. However, because Fi is the TeNi’s weakest function, they will often act with the swift decisiveness of Te first, before considering how their actions might affect the feelings of others or taking time to think about whether their decision lines up with their values."

Lockwood risks his life a lot just to build his agency's reputation. He loves dangerous cases as they make the agency famous, and also makes a lot of money to keep the agency working. Though this may sound like the fastest and most efficient way to achieve his goal, it is a bad idea. But since Fi is his weakness, Lockwood couldn't hear that inner voice and just do it anyway.

In the books, when Lockwood is stressed and in a weaker mental state, his Fi inferior function comes out. Then he will start to think about all of this, wonder why he does what he does, and if it aligns with his personal values...

📍We can also compare with ENFJs. ENFJ has Fe as their primary function, which means they rub off with others' emotions, they love to connect with people and they focus heavily on relationships.Lockwood, an ENTJ, on the other hand, is a bit reserved, he keeps personal feelings close to his chest and he DOESN'T connect with other people at all (at first, it takes quite a long time for him to actually open up, and before that, he just stays distant.)

Relationships is actually his WEAKNESS, since Te is his primary function and Fi is his inferior function. Lockwood prioritizes efficiency and task completion over personal relationships and emotional well-being (in both himself and others, but mostly himself), which is a very ENTJ thing to do. He risks his life for dangerous cases because those make the agency more famous, he avoids Lucy's personal questions and refuses to develop his relationships with George and Lucy any furrther at first. Then he grows and learns to open up, becoming a better ENTJ.

📣 Besides, he leads the team well mainly because of his charm, his determination, his recklessness and also his logical thinking, rather than his empathy and compassion, like an ENFJ does. 📣

📍I think his craving for public attention is an Te primary function.

📍The craving for public attention is rather a craving for achievements, because he wants his agency to grow and become famous.

[mj-says-hey]

how to break a Ti user: give them a problem they can’t solve

[innumerablebackstages]

Os Iusti

A Playlist About Ni as a Dominant Function.

This is an unapologetical ramble that will be soon followed by a lot of even verbos-er rambles. Give the Playlist a listen if you found this somehow interesting.

A disembodied hand carrying a key is the perfect metaphor for Introverted iNtuition (Ni): the key itself represents the unfathomable knowing, but the unseen door leaves us questioning what is it that can be opened, known. What lies beyond is veiled, both to others and to the Ni-Fe themselves, until the moment of revelation. This playlist mirrors the labyrinthine and multi-dimensional nature of the Ni dominated psyche, mapping a journey that is simultaneously personal and universal.

Os Iusti, meaning “The Mouth of the Just,” speaks to Ni’s relationship with revelation. Though silent and elusive, when Ni does speak, it unveils profound truths that resonate on a mythic and symbolic level. It won't necessarily be well translated to others, though, and here arises a Cassandrian problem for the Ni-dom. This function often “sees it all coming” long before others catch up, only to be dismissed until hindsight vindicates it. How well developed the J-functions of the user are will determine how much they get out of the alluring mind palace of Ni.

We can see in Jung's Psychological Types (1921):

Inner objects appear to the intuitive perception as subjective images of things, which, though not met with in external experience, really determine the contents of the unconscious, i.e. the collective unconscious, in the last resort. Naturally, in their per se character, these contents are, not accessible to experience, a quality which they have in common with the outer object. For just as outer objects correspond only relatively with our perceptions of them, so the phenomenal forms of the inner object are also relative; products of their (to us) inaccessible essence and of the peculiar nature of the intuitive function.

that Ni is untranslatable; the things a Ni-Dom user experiences as their normal cognitive process is composed mainly by images, impressions, vague certainties. These types are very specific kind of people: I see online a tendency to broaden what it means to be Ni-Dom, but Jung is clear with it: introverted perception is aloof and loony and guides itself with impressions of the body and the imagery of absolutes. This is what is so fascinating about introverted perception functions: they deal with probability, yes, but the user experiments those probabilities as absolutes. The user will rarely focus on "all the possibilities" but on The One Possibility their powerful perception marks. We can understand the Pi functions as internal maps: one based on impressions of the body and the other, "of the soul". "The Soul" here means the archetypes of the universe. The Sun, The Warrior, The Emperor... They all masquerade as situations rise and fall over time in a never-ending cycle. A repetition. An eternal return. All closely guarded by the collective unconscious. For the introverted intuitive, the world is a constant flux of cycles that repeat themselves and can be gazed at. At least partially. As images. As impressions.

You see, the experience is as puzzling for the user as it is for our inner circle: as exhilarating as my certainties can be for me, I don't really know where they came from or what exactly do they mean. A "vibe" I get from someone can assume the form of a vivid image of them kicking someone in the balls for fun while smoking a joint. Or something less explicit: I can feel they are terrible violent people by the way they smiled. Why? Hell knows. I can just feel snakes crawling up my arms when they smile. What does that even mean? I will give you a delicate shrug. You do you, my gut told me. I trust it with my bones.

Finally, and we will follow with the songs and why they're there I promise, we need to understand something about Ni: it is narrative in nature. The impressions it deals with are composed mostly by images that serve a deeper, much bigger focal point.

Thinking on images means an acute sense of aesthetics too, of the aesthetic nature of patterns: perception means contemplation and passivity, not capable of judgement. It reminds us of The Crone, the ancient chaman who knows the secrets of the stars. Ni deals with equilibrium and divinity and the impressions evolution and society have made us grasp with the strength of a baby in need. Ni sees the egg and the snake that coils under the earth. Necessarily, a Ni-dom gets their impressions from images, because the introverted intuition deals with the disembodied triggers a sensation can awake.

Or, as Jung would eloquently put it:  

Intuition receives from the sensation only the impetus to immediate activity; it peers behind the scenes, quickly perceiving the inner image that gave rise to the specific phenomenon (…) It sees the image of a tottering man pierced through the heart by an arrow. This image fascinates the intuitive activity; it is arrested by it, and seeks to explore every detail of it.

Without further ado, the songs:

Hide - CS01 version — Dorian Concept

whispers in motion

This track is about how Ni feels. It's disorienting and elusive. It's also full of patterns. Here, it's mean to speak about the layers of abstraction behind Ni-images. This function only perceives sensorial information to generate images.

I once told a friend Ni feels like structures building themselves. Without my knowledge, action or conscious effort insights sharpen into crystalline clarity only to fragment under their own weight. Some of them don't, but I have no compromise with them. They're product of the wild energy of being a flesh machine. I judge their beauty, their soundness, their structure. And I won't ever find a way out.

The disjointed rhythms evoke this. In this moment, I become an observer, piecing together fragments of a vast structure underneath. Constantly moving from one filament to another, piecing into an unconscious web of... Something. Introverted intuition feels constantly as something that occurs outside of me, like a spider would inevitably create a web. This is a joy and a pain in the ass.

A Dark Cloud is Coming — Moby

an apocalyptic vision

This one is slow and paced and builds up to an intense ending. It's a little over the nose, isn't it? Well, the gift of prophecy can only be understood as a dangerous delusion: it bears an indistinct sense of impending doom that grows clearer with time. Yes, of course the impressions are useful. I have already stated how much I trust them... But it still gets itself into visions of doom. It feels like a constant weight on the shoulders, real or not. In a lecture, Jung (1938), speaks of a persona gifted with a second vision. Her delusions are not "of neurotic origin" and so she's not considered mentally ill. These visions, however, give her a "strong personal dissatisfaction"; she was absolutely terrified by sensations that were not entirely real and were not entirely hers.

This also delves into the very annoying, very real apocalyptic visions Ni can give the user. When under stress, they can be realistic and feel like accurate depictions of what will become reality. Here, the absolutes Pi deals with become a double-edged sword: if your always trusted perception tell you there is something off going on in the world... Will you ignore it? Exactly.

In this Album, Moby channels his reflections on contemporary life and personal torment into jagged post-punk. However, this time they emerge wrapped in a deceptive gentleness—like the smothering embrace of a down pillow, soft and suffocating all at once. This is an album about his fear of the species future. His eclectic style and the beautiful lullaby this song is felt just right.

If I Were — Vashty Bunyan

mammals yearn

My story with this song is from long ago. The first time I listened to it my hairs went up and it felt like I had discovered something of ultimate importance. I yearned. I yearned painfully and I did so because of the images in my head. The feelings they gave me. I became aware of my gut-wrenching, existentially itchy habit of contemplating (sometimes believing in) alternative realities.

Not as mere fantasy, but as something that illuminate the present and they do so because we are plagued by impressions of our past. We have developed a collective, evolutionary, memory that makes us enjoy and be terrified of basically the same things. Bunyan’s lilting voice and bittersweet lyrics imagine a world shaped by care and gentle longing. Ni yearns to align the external world with its internal tapestry of symbols. Whatever these images are, they're much more beautiful than wherever the Ni-dom is currently dwelling. Beauty, as stated before, is a main driver for the psyche of introverted intuiters.

Ni doesn’t just seek beauty; it obsesses over it, hunts it down, and then mourns its impermanence. It creates these beautiful, impossible ideals, then leaves you stuck in a world that can’t match them.

Jung, has something insightful to say about this, actually:

 it is an aesthetic problem, a question of perception, a 'sensation'. In this way, the consciousness of his own bodily existence fades from the introverted intuitive's view, as does its effect upon others. The extraverted standpoint would say of him: 'Reality has no existence for him; he gives himself up to fruitless phantasies'

I rest my case.

Forest Nativity - Francis Bebey

this tropical ape

This song is about something I mentioned before. Ni sees the snake. Why the snake? Well, as a symbol it is connected to the earth, to clay, to water, to flexibility and longevity. The snakes are one of the most ancient evolutionary enemies of primates. It also symbolizes lost of control, danger and chaos.

We fear them with such uniformity that out brain is wired to recognize snakes in less than a second (2016). What I'm saying here is our ecosystem has influenced the way our brains react and think collectively: if we all come from the same savannah, then we have the same primal fears. The same, old, tropical fears. I, personally, think archetypes primarily arise from there. From terror.

This track is about intricate rhythms connected to instinct. Here, I only want to remind you, and me, that Ni is a function born of instinct. Of music and religion as catalysts of society. No matter what we perceive, our feet are touching the jungle's soil, always —it’s that gut feeling of “there’s something off,” the perception that always feels just outside of reality, dancing on the edge of the conscious.

This constitutes, then, a liminal zone for the psyche: trapped among excel sheets and the animal impulse, broker of ties and marriages and skin boots. Ni thrives in these liminal zones. In the in-betweens. It weaves meaning from the interplay of this forest nativity. Ni fleshes out these collective memories through narratives and images, constantly exploring this... And for a Ni-Fe, that also means the human drama.

Olsen Olsen - Sigur Rós

trascending as a sweet

Sigur Rós is a band of icelandic Post-rock. Yes, cope. Their music is ethereal, and made to be beautiful: their creative process follows first the sound and then the meaning of each track. That is a familiar feeling. Stephen King, a famous Ni-Te, describes its creative process as unplanned: he just follows his internal map. What works. What can be envisioned as beautiful. Whatever beautiful means in a given situation.

Like Ni creative process, this song goes away from mundane concerns and toward the sublime. With its otherworldly vocals and expansive melodies, It is firstly concerned with creating sensations and crafting an image. The song was written in an invented language specifically for it, one that will be revisited by the band in future songs, but is just crafted to sound beautifully.

Few tracks embody both Ni tendency to transcendence in the sublime and the irony of its prison of flesh. The ending of the song, after a long descent into imagination and memories, a childhood sweet or a card game, crashes us with the familiar low roar of a supermarket.

Buzzcut Season - Lorde

detached awareness of impermanence

I will be honest, Lorde was not my favorite during most of my life, until her EP in maori came out. I had had my head up my ass all this time about an amazing artist. Buzzcut Season was a serendipity: and in this case it talks very openly to me about the inevitable detachment I feel for the world. And about how it feels to grow up when you don't think it has any meaning. About ignoring and fantasizing.

Something I already mentioned comes to play here, a weaving of opposites. I perceive collective dissonance and their inner tension between empathy and cynicism. I am weighted down by the impossibility of eternity. Lorde's detached delivery contrasts with the emotional gravity beneath the lyrics. I knew when my childhood ended with painful clarity, and I remember the details of my particular tragedies with detail. I still struggle to find myself outside of my head.

Now, this detachment is not in an emotional sense exactly. It's of a different nature. It's more of a hyper-involvement in a symbolic layer that renders the mundane world irrelevant.

This song is about Ni's tendency to detach from the present, observing it as though from a distance. Recognizing the impermanence of everything that has ever existed and the underlying patterns that shape them, yet unable to scream in horror. The Ni-dom is at deep emotional resonance with the world’s beauty, tempered by an almost clinical awareness of its fragility.

Illusion of Seclusion - Photay

I am one, or all, or nothing

I might sound like some kind of purist here, quoting fucking Jung and all, but I do think there is value in whatever insights and further readings into typology new blood has to give. The people from Cognitive Type, for example, have very interesting takes on Ni. Its creator explains that Ni's perception is translocal: meaning all information gathered, processed and burped out as an automatic castle will be working in function of an axiom.

This is why Ni can feel so disjointed from the “now”—because it’s not just analyzing the present, it’s tying it to an entire temporal and spatial continuum.

It will always have a direction, a focus, it will follow a specific narrative. While introverted sensation knows the facts in a sort of bulleted manner, introverted intuition inevitably arranges the facts as if they were part of a thematic web. Ni has, intrinsically, a direction. A focalized pull. Even the smallest data sets of the pathway must conduct towards the completion of the spider-web.

The previous gives birth to another characteristic of the Ni-dom, a certain idea of panpsychism and synchronicity. The psyche of Ni dominated people tends to think of the world as one. Or everything. Or nothing. But all of it for sure. It’s that nagging sense that every event, every detail, even the most mundane moment, serves a larger function in the grand scheme.

Beneath it´s solitary exterior, Ni is constantly weaving connections, weaving a web of meaning that reveals the unity behind apparent separations. For Ni, sometimes, all of the mental and physical objects are but buttons and shafts being pulled by the same forces since the beginning. Solitude is, then, an impossibility.

Os Iusti, WAB 30 — Anton Bruckner

divinity in beauty

This piece is the spiritual core of this playlist. I had the idea while giving this a listening. But first, Os Iusti comes from a bigger quote. It's from the bible, Psalms 34:30, and reads as follows:

The mouth of the righteous utters wisdom, and his tongue speaks what is just.

So this song is about prophecy and truth. Allow me to get a bit mystical with my creative depiction of how it feels to inhabit Ni. To keep it short: beauty is divinity. Transcendence and divinity are but tied to the same log and they flail against the absurd with savage strength. Ni doesn't exactly believe in the teleological nature of the universe, but it certainly acts based on this idea of repetition and symmetry. Bruckner's beautiful chorals address this with the grandeur it deserves, from a higher dimension.

But, it's also related to another dimension of divinity. This playlist, you might have noticed, is not only about condensing Ni, but condensing Ni as the dominant function of an INFJ. This choral piece also resonates with Fe’s moral blade. Its liturgical. It evokes my inner cathedral, where I constantly voice my questions of justice, duty, and alignment.

Although the Pi type is inward-turning in nature, this function:

has little inclination to make a moral problem of perception, since a strengthening of the judging functions is required fo this, only a slight differentiation of judgment is sufficient to shift intuitive perception from the purely aesthetic into the moral sphere (...) only a slight differentiation of judgment is sufficient to shift intuitive perception from the purely aesthetic into the moral sphere

and that:

It is different with the morally oriented intuitive. He reflects on the meaning of his vision, and is less concerned with developing its aesthetic possibilities than with the moral effects which emerge from its intrinsic significance

Yes, Ni is meditative and silent and won't necessarily make a fuss out of it. But just you wait. “Os Iusti” speaks not of human justice, but of cosmic harmony.

We Have a Map of the Piano - Múm

and the piano is everything

This one is more of a metaphor. The piano is... Well, everything. We are the pianos and our human drama is the piano too. Ni, sometimes, feels like having an internal map for everything that has happened under the sun. An hermetic, deeply confusing map. More often than not, the map of the piano will be much more important than the piano itself. The image will impose over reality and instead of grasping the deeper truth, I'll be chasing my own shadow.

In these archetypes, therefore, all experiences are represented which have happened on this planet since primeval times. The more frequent and the more intense they were, the more clearly focused they become in the archetype. The archetype would thus be, to borrow from Kant, the noumenon of the image which intuition perceives and, in perceiving, creates.

The map is, however, fucking alive. Do you know what cell membranes are made of? Oil and coloidal substances suspended in water: meaning, their very own structure is a fluid mosaic. Always changing, always different. The map is the same.

The collective unconscious doesn't work for the Ni-dom, we just glimpse at it with uncanny precision sometimes. Still its prisoners tho. Remember what I said about a map of absolutes, at the beginning? I am talking about one of its downsides: what happens when we fix in the wrong absolute? I will tell you what happens: nihilism and despair.

This song is about the use of the internal map to move around. The crystalline structures my mind creates without agency may not be entire useful, but they provide me with an unshakable sense of direction.

Soul Alphabet - Colleen

on the interpretation of shadows

If the former song was about the maps of everything, this one is specific to us Ni-Fe's. The map here turns on how we process emotions, how we process the world of people, the social economy. It's a soul alphabet because, yeah sure, we will read an entire room and pick out the weirdos, the nice, the disgusting and the arseholes in less than 15 minutes... But, then? Knowing and perceiving are absolutely nothing without their corresponding real object being affected.

A soul Alphabet means to know the exact words needed to open a door... Or it should, if the alphabet was not composed of archetypes and their implications. Yes, yes, they're useful, but seeing my boss as "The Emperor" and predicting his behaviour based on it can only take me so far.

You might have caught the problem a few songs back. Ni gives a lot on how to navigate relationships, but it also picks you apart. The belief that you already know what will happen is, very often, an obstacle to feel involved with your loved ones. With the world. And to accurately understand what is already going.

What happens when the image of the object is as heavy in your psyche as the object itself? Which one is more beautiful? Whom did I say had a fixation with beauty? Starting to get it? It, introverted intuition,

perceives all the background processes of consciousness with almost the same distinctness as extraverted sensation registers external objects. For intuition, therefore, unconscious images acquire the dignity of things (Jung, 1921)

As I have tried to convey during this entire verborrhea: Introverted intuition is both a joy AND A PAIN IN THE ASS. More often than not I will feel utterly overwhelmed by the information I'm perceiving (shadow Se much?) and will need time to understand what, in the first place, this all means for me. Yeah, sure, I know Frederick's got a crush in this german girl because of the way he looks at her. Because I get his butterflies while he smiles. I won't necessarily care, since it's an aesthetic problem first, until I have had time to judge... And it will take a while.

It's a beautiful song, tho. Having a soul alphabet in perpetual growth IS beautiful. I find human emotions so utterly beautiful in their primal savagery, and yet, I will feel removed from them. Alienated.

I know the end - Phoebe Bridgers

do you?

Yes, of course I already saw it coming. Do I care enough? Do I want to experience it anyway? The paradox of anticipating the inevitable while wrestling with an unspoken melancholy. This is one of the many dilemmas I’ve hinted at throughout this. From here on, I’m peeling back more of the darker layers of Ni.

What does it mean to know the end? Well, for the Ni user it implies both the constant sensation that the world can't really be a surprise, and an unspoken melancholy. However, do I really, really know the end? No, I don't. Ni isn’t omniscient—it’s a trickster. It feeds you archetypes and calls them truths, maps that blur the contours of reality. This song is both about sadness and stubbornness.

I've already said Ni takes archetypes too seriously. It takes its images as real objects and not machinations of the unconscious. What if the perceived end is one of these delusions? What if it's an apocalyptic vision breed by stress and insecurities? Ni craves the grand design but struggles with nuance. It clings to archetypes—its own self-made gods. Despair isn’t in not knowing. It’s in thinking you do, it’s being so sure you’re right that you refuse to look at the details.

Just like before, the illusion of knowing is a constant danger for these types. Bridgers captures this tension. The song’s crescendo mirrors this: a widening lens that swallows the world in its entirety—hopes, fears, and all—before collapsing into the emptiness of knowing.

You see, the thing is the map will definitely loose sight of the trees.

God, turn me into a flower - Weyes Blood

aren't magnolias pretty?

Ni doesn’t scream. It doesn’t need to. Ni is forceful in its own way. It demands attention—not through volume, but through gravity. This song is about surrendering to that gravity—a dissolution of self into something purer, quieter, beyond language.

“God, turn me into a flower.” A delicate, fleeting bloom, enduring for as long as it’s meant to. Let me be found by those whom are looking for the same divinity as me. Are we not flowers already, tho? Yes, God, tune me out the horror of reality.

But this isn’t a prayer for peace. It’s also a cautionary tale. The myth of Narcissus looms large here, twisted through the lens of modernity. In an age of reflections—be they digital or mental—we often mistake the image for the thing itself. As Weyes Blood laments:

You see the reflection and you want it more than the truth You yearn to be that dream you could never get to 'Cause the person on the other side has always just been you

Ni’s greatest strength is its ability to craft those reflections—shimmering visions of what could be. But therein lies its deepest flaw: the tendency to elevate these constructs above reality, turning them into prisons. We, like Narcissus, chase the reflections we’ve gazed at: the archetypes, the futures, the images of ourselves we wish were real.

What Weyes Blood offers is a counterweight. A call to soften. To stop chasing reflections and instead bloom where we are. Flowers don’t pursue their own beauty; they simply are. Maybe that’s the secret Ni longs to uncover: divinity isn’t in the vision—it’s in the act of blooming.

Suspirium - Tom Yorke

eureka!

It’s not fear, not really. It’s more like standing at the edge of something vast and unknown, staring into it, and wondering, is this mine? Can I claim this abyss? Or does it claim me? It’s a question we’re never ready for, but that’s exactly why it sticks. The light, the heat—it’s all there. But they’re inseparable from the shadow. That’s the thing about Ni, right? We see the whole thing, the light and the dark, and we can’t look away.

Sure. Just keep moving, right? Pretend you’re not aware that you’re stuck in the same dizzying cycle. Keep dancing in the waltz, behind the wall, pretending the laughter and the old songs are enough. Pretend you’re not aching to stop, to sit in the silence and ask yourself, what’s on the other side? The truth is, it’s not the spinning that keeps us going. It’s the hope that when we stop, we’ll still be okay. That we won’t unravel. That we’ll find something whole

Then there’s the final plea: “When I arrive, will you come and find me?” The search for something or someone—answers, resolution, a sense of belonging. But Yorke wraps that in a veil of uncertainty. Will we find each other, or will we just get lost in the crowd? It feels inevitable, and yet entirely unknown. There’s a mother, pulling us back. No tomorrows, no next steps—just a final moment of peace. But is that peace something we’re even allowed to feel?

In a way, it’s a beautiful mess. The waltz, the repetition, the dance between light and dark, the questions we keep asking and never quite answering. Suspirium is a swirl, a cry, a whisper, a pull—a glimpse at something both unknowable and familiar. And maybe that's the whole point.

This song doesn’t just ask you to feel—it asks you to exist. To sit with the weight of being, of moving through cycles you might not even understand, of carrying the light and the dark and everything in between. Ni doesn’t scream, it murmurs, and Suspirium is its hymn. Quiet, unrelenting, heavy with beauty and questions.

Is the darkness ours to take? I don’t know. But I do know that I will have to watch it.

Le Miroir - Alcest

toolkit for indirect knowledge

If Ni was a movie, Alcest would write the whole damn soudntrack. Their shimmering post-rock isn’t just music—it’s a vessel, an immersion into the space where reality blurs and meaning sharpens. Le Miroir is exactly what it claims to be: a mirror, but not the kind you glance into before heading out the door. It’s the kind that shows you and the world. The tool for looking in the corners.

This one is a mirror image in the shadow. Always slightly removed, a step back from reality, gazing at the world itself and at the veiled truths behind it. The shimmer of something more. But here’s the catch: is it a revelation, or just your own shadow staring back? Ni-users know this tension all too well—this need to decode the archetypes, to give form to the formless, to pull the unseen into sharp relief. But at what cost?

“C'est pourquoi je réfléchis.” The clever double meaning: Reflect light, reflect thoughts, reflect existence itself. Mirrors, they reveal, but only indirectly. There’s danger in that constant reflection. You can get lost in it, in the labyrinth of your own interpretations, mistaking the shimmering surface for the depths.

Alcest doesn’t give you answers. It doesn’t hold your hand. It hands you the mirror and asks, “What do you see?”

Je suis une image dans l'ombre un lieu vaguement ébloui (...) c'est pourquoi je réfléchis (...) tout ce qui passe tout ce qui change

Typewriter Lesson - Cornelius

collapse of meaning

Does Ni ever drown in its own depths? Oh, absolutely. Does Ni's ability to see patterns collapse under the weight of over-analysis? It does. If Ni is the all-seeing oracle of the psyche, then Typewriter Lesson is the moment the oracle stares so long into the abyss that it accidentally starts narrating the phone book. This track isn’t just music; it’s a chaotic exercise in over-interpretation.

Let’s get one thing straight: Typewriter Lesson isn’t “about” anything. And yet, that’s precisely why it feels so perfectly Ni. It’s a looping, rhythmic mechanism—clinical yet oddly hypnotic, a melody as sterile as it is strangely evocative. The problem is, Ni can’t leave it alone. It’s like a dog chasing its own tail, hearing the clacking keys and spinning them into grand metaphors: cycles of life! Patterns of communication! The machinery of the human mind!

But then you step back, and what’s left? A glorified typing exercise. Instructions, abbreviations, nonsense syllables. It’s like Cornelius handed you an IKEA manual and said, “Figure it out,” knowing full well you’d end up philosophizing about the meaning of furniture instead of actually assembling it.

And that’s the trap of Ni—this unbearable need to turn everything into a symbol, even when the thing itself is aggressively, stubbornly meaningless. If archetypes are Ni’s favorite playthings, then Typewriter Lesson is the moment it realizes it’s been playing with a piece of Ikea cardboard the whole time.

The beauty, of course, is in the collapse. The sheer absurdity of assigning meaning to something that refuses to hold it. Cornelius serves up a mirror here, reflecting back Ni’s own self-indulgence. You hear the keys, the repetitions, the structured chaos, and you think, Surely, this must mean something.

But does it? Really?

Staircase - Radiohead

tragically trapped

How much control does Ni really have over its webs of meaning? Is it weaving them out of choice, or is it compelled, trapped in a Sisyphean task of interpretation and reinterpretation? Staircase is about the Ni-dominated psyche staring into infinity, endlessly pulling threads, only to realize the whole thing is unraveling faster than it can be spun.

This song is a descent into chaos, into existential horror. Your mind is the delicate spider always spinning it's beautiful web. Non stop. Never-ending. The cyclical rhythm, the disjointed beats—they echo the way Ni perceives patterns in everything, yet never fully pins them down. Each step down this staircase only reveals more steps, more questions, more webs tangled into chaos.

But here’s the twist: if Ni assumes there’s a grand design, why doesn’t it ever reach the architect? Why the hesitation, the half-commitment? Because it, we, know there is no architect. This is also the saving grace; Ni is used to chaos. To nothingness. To provide the structure itself. See, this is my favorite, the collapse, or descent, is but an opportunity. Remember Little Finger?

Chaos is a lader

Radiohead’s layered production mirrors the Ni-user’s internal experience: dense, abstract, and vibrating with tension. The synths and fragmented percussion create a space where agency and inevitability blur. Is the staircase moving you, or are you moving the staircase? The song doesn’t answer—because Ni doesn’t answer. It just keeps spinning.

[sp6ghetti]

hello there, i come for your wisdom once again🙂‍↕️

I found 548 sx/sp very fitting for me at the moment. but i still cant beat my way around my MBTI/socionics. my Fi is a lot stronger than my Te. but im sure im a Ni dom in all systems. and im 90% sure Im on the Te-Fi axis. I would like to delve on the possibility of being an INFJ NiFi like you. so could you tell me what theories support this model, and how is it supposed to look like overall? i didnt find anything about it in socionics except for the subtypes which arent very elaborated. but i personally think that ILI-3Ni should equal NiFi. I'd like to hear your opinion!

You’d have to go more into Jung. Myers Briggs purely used Grant stacks, so adhering to her theory, IIEE/EEII stacks don't exist in mbti. The way I, like most people I've seen, understand Jung's theory in this specific regard is that the introversion or extraversion of the auxiliary function simply doesn't matter; it is just a support to the dominant function. You can also see this in the way Jungian types are formatted, which in this case would be IN(F), though people do often like adding the extraversion or introversion of their aux. Just because it isn't as important doesn’t mean it doesn't exist. I highly highly recommend reading Carl Jung’s Psychological Types for this because it's just a more direct source of information, but that's the gist of it according to my own understanding. As for how this model looks is fairly simple, you are essentially just switching the intro- and extraversion of the grant stack, so in the case of INFJ that would be Ni>Fi>Te>Se. 

In general I do believe the Jung type should match up with the socionics type, so in that aspect I would recommend looking at IEI. Though frankly this is something I've questioned before in the same regard, so I suggest critically comparing both types yourself. Adding subtypes here can either work out perfectly or have the opposite effect where you might try to justify typing as one type due to all the ‘but’-s on top (this goes either way). If ILI seems to work for you, that is absolutely perfect!

[internetdweller3]

I think a very bad issue within the typology community is how people shape themselves to adhere to their typology.

I recall a friend of mine who identified as an TiNe it(n) sp5 and they ensured the way they acted and responded to things were how a “typical e5 should respond”. It’s just kinda sad to see because people within the typology “community” will go against their natural human nature and response to comfort themselves that they’re the typology placements they are, if that makes ANY sense.

It should really be vice versa; you adjust your typology placements accordingly when you find that something doesn’t quite align with your behaviour, not you adjust your behaviour when you fine that it doesn’t align with your typology. But even then, one TiNe and another TiNe person are the same. It’s just really silly.

[phvle]

IN(F) — Introverted Intuition supported by Feeling

Continues to work instead of seeking treatment for failing health. Sometimes has phobias. Likes to go out, to dance, knows how to tell a stor. Experiences hypochondriac neuroses, claustrophobia. Before an important event experiences strong emotions, may lose appetite. he Is blind to his own hunger. He ponders what is the point of something, the meaning, symbolical nature. "What will this do for me?", he worries about what he can do to affect others, what are people thinking about, how society, the collective, perceives him, how his friends feel about him. He often smiles, has a cheerful nature, but it is usually fake, not so sincere. Neurotic, obsessive pedantic and egoist yet soft, friendly and welcoming. Expressive, he likes to maintain a comfortable emotional ambient, he focuses on making human relationships and Keeping everyone united. A hopeless romantic, prone to stalking crushes and compulsive overthinking They fall in love, they aren't loving, they are within limerence. "Teen love" - this is a good name for it. He idealizes everything, he doesn't has clear opinions, his beliefs are dictated by the collective: he either believes or gets skeptical about love, because he usually understands love only in a specific sense - the standard sense. When he thinks about emotions, he thinks about pop. mainstream. generalized emotions. Humanity for a long time idealized and represented love as romantic or erotic; so this type suffers from this: he easily believes in doing anything in the name of love, he would do anything for his loved ones, if he ever falls in love with someone, of course. Avoids showing his true feelings, he could be crying in one moment, and then in the other, he enters in a group, a collective, and he adapts to it, he stops crying and starts smiling, "acting". Very inclined to escapism, hallucinations, delusions and religion, ideology, existentialism and politics. He often relies on external sources, academics, he doesn't know how to explain things, so he needs to talk about his sources, he shows what people think, out of fear of being wrong. Anxious about being humiliated, he has a weak selt-esteem. The romantic dreamer likes to lay on a sofa with a book, or go to the countryside to spend time amidst nature. Many manifestations are inclined to cosplay, they like to live alternatives - finds ways to avoid boredom, uses old things and people in a new way and bringing the positive future into the present and past, staying light and hopeful in spite of anxieties. Struggles with videogames and orders: he is verv trial-and-error. He mav be cold. withdrawn. asocial. timid and extremely introverted; a gloomy figure with low confidence.

He hides his insecurities. runs into situations of trust and marriage. Intense connections. Fantasizes about people, delusional imagination of being accepted, praised. They find difficulty to express what they want, often times they do not realize what they wish in life; they ask people "how do you create interest?" because they lack actual desires and passions. Individualistic in some manner. Creates music, laments his own existence, prone to atheism, agnosticism. Diligent but unfocused, non-disciplined, often loses concentration, but he is always doing something - it could even be living in his dreams. He compares himself with other people, tends to be jealous, envious, yandere. Inclination towards mysticism and superstition, beliefs in prophetic dreams and omens. He is a person who is emotionally labile and uninhibited, does not control his own emotions, some manifestations of the type make fun of people and are sarcastic. Some versions, instead of comforting people with the warmth of his soul, begins to manipulate other people and act capricious and touchy. "Everything is wrong" and "things didn't turn out to be as desired". Many times expresses a desire to be hugged, to be protected and helped, he is weak and thinks of himself as someone "not prepared", he worries and worries. Some people of this type spend their time alone, don't have many friends (may not even have friends. He likes to dive himself in meditation. It is important to understand everything. Therefore, if you ask him about the difficult things sometimes, you can hear the answer that he understands them (only a very peculiar). It is important that everyone knew him as well. If understanding is impossible, that human self-esteem drops, so it does not like to admit that something is not understood. It is important to praise the consistency, likes to boast that he was up to something thought of himself. Often he loves to refer to some everyday stories, because nobody will not even think to check their authenticity, in general likes to refer to someone as a way to protect their reasoning. He is a person prone more to reflection than action. "If I understand correctly, then I am a good person". The fear of turning out to be incompetent greatly narrows down the areas in which the person dares to demonstrate or apply their knowledge. This type wants to solve his problems by collecting objective data. It is necessary to consult the experts, to obtain the data and results of studies, to receive objectively reliable new information. "Any unpleasant sensation or experience it's best to endure and wait over, than to seek how to improve one's state or move to another place that offers better conditions."

[hammerheadmarc]

from Jung’s The Red Book

[rosquinn]

what would my man carl jung think of his fandom rn.... half of it is random teenagers who like personality types and the rest is just people who open tiktok and say shit like erm actually people with schizophrenia are activating their third eye yesthank you

[fartgirl4000]

i keep on questioning if i’m actually an ENTP and not INTP

[hermitessun]

as a choleric-sanguine, do not put me in a room with another choleric sanguine because we will fight each other. actually

[rambling-persona]

It always is fascinating to hear what others' perspectives are on various typing systems. I have tendency to get stuck or just have a very black and black "it's this or wrong" mentally, so I love it when I get hit over the head with hammer basically, be it directly/intentionally or not.

[maryvioletique7708]

📢📢📢 HEY YOU! YES, YOU! Are you tired of being misunderstood by the world around you? Do you want to finally unlock the keys to your true self? Did you also know that e-i-e-i is that annoying NURSERY rhyme you grow out of, not an extravert's functions?

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Don't settle for mediocre typing methods – the evidence-backed method of 16archetypes.wordpress.com is ready for you now. So what are you waiting for? Take the first step towards self-discovery and visit our website today!

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In another time… Hope you aren’t lying—

[psychosophy]

ABOUT ME

Hiii I'm Aaron! One of my special interests is typology, and my favorite systems are psychosophy, neurotyping, and classpecting (if u wanna count that LoL)

Other interests include animanga, homestuck/Vast error, Suda-51 games, and uhhh other stuff

My typology is probs ESTP, 8w7, 873, SCUEI, VFEL, Sanguine-Choleric, Chaotic Neutral/Evil, and Thief of Light (Prospit)

This account will be used as a way for me to put my typing of charas, as well as of me classpecting charas ! Requests are open and I will schmile :3 tho I might not respond if I don't know the media well XP

[sp6ghetti]

confession: i've never read van der hoop.