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Paul McCartney

To get the Fe vs Fi argument out of the way first I will start with his which Feeling he preferred.

Your mileage may vary, but one point in favour of Fi I would highlight would be in this interview here (seriously, check it out): https://youtu.be/ufor1B9y7Xw. I know Fi generally keeps to itself more than Fe, but, all else being equal, Fe can also be a bit more deliberate about what it reveals, whereas McCartney just kind of said stuff in the moment without considering how it made him look. I don’t think McCartney filtered everything through the prism of ‘How is this going to affect others? How is this going to make me come across?’ I think he was more just true to himself and let the chips fall where they may. I did consider Fe for him but I think that's just because he was a kind of a agreeable person (in a Big Five sense). If we take it that he has Fi, then his advocacy for farm animal rights was stemming from an internal value than external one, i.e. not primarily orienting his values by objective sentiments/data, but rather they sprung from inside, passionately. Fe types can definitely advocate for farm animals, too, and, yes, doing so is definitely an 'objective value'. But for the reasons I mentioned, I think McCartney fits the bill for an Fi type better in this context.

Argument for ESFP (I will present the argument for ISFP later):

Now to the meat and potatoes, ISFP or ESFP. I will start with Ni. So as I understand it best, the Ni quality is something that ESFPs find to be very taxing on their mental processes (as all inferior functions go). Ni, while can be understandable to them, simply gets in the way directly perceiving the object, object not being limited to just sights or sounds (though those apply primarily) but also just the natural flow of life i.e. the things one needs to do, places one needs to go, and people one needs to see. Thinking "Ni stuff" takes up too much time so it gets pushed to the wayside until some someone directly wants to bring up some philosophical conversation in which it will be up to the individual to decide whether to engage with it or dismiss it (as there is variance in this department).

Ni in ISFPs work a little differently. As I understand it, the ISFP brings the symbolic representative nature of Ni into union with Fi and Se often by expressing itself through some aesthetic form (and by "aesthetic" I'm not limiting it to "art" but also a way of life or a way of carrying one's self). Tertiary Ni in the ISFPs can cause them to have a tendency to want to and try and capture the "beautiful image" based on their perspective like the following:

Frank Ocean: "When I'm trying to make a song ... I'm trying to make a photograph out of something you can never see."

Leni Riefenstahl: "I [seek] a style in the realm of legend. Something that might allow me to give free rein to my juvenile sense of romanticism and the beautiful image."

Now, I have to preface that it does get tricky as because it's tertiary, meaning ISFPs can toggle it on and off, so many ISFPs will be realistic (meaning not concerned with the "ideal") in many things whilst in some others things they will be. But all else being equal, an ISFP is more likely than an ESFP to express an object or their work via subjective associations and impressions, as a results of higher subjective Feeling and Intuition, and lower Sensation and Thinking, than the ESFP (along with introversion). McCartney fits the latter than former:

McCartney: "I don't ever write a song thinking, 'Now I'll write a song about...' I do sometimes, but mainly I don't. Mainly I'm just doing a tune and then some words come into my head, you know. ... It doesn't mean anything, you know, but those just happened to come to my head. So that's what this song is about... it is about my dog. I don't mean it, you know. I don't ever try to make a serious social comment, you know. So you can read anything you like into it, but really it's just a song. It's me singing to my dog." [Source: http://www.beatlesinterviews.org/db1968.1120.beatles.html]

McCartney: "There's nothing deep behind a scream, you know? A scream is just the same as a roar in a football match; there's nothing, sort of, sexual or any horrible things like that. You know, that's the sort of thing people occasionally read into it. There's nothing like that in it, I don't think, because when I used to go to shows, I'd shout—but I didn't mean anything more than 'I like the music you're playing' or 'I like the way you play your guitar,' sort of thing. There's nothing behind it."

Contrast this with how ISFPs describe their work, one can see that they imbue to a noticably higher degree, using Ni to serve Fi in taking a deep inner emotion and finding a singular, symbolic archetype to represent it:

David Bowie: "[My paintings] are very personal to me as well. They're all portraits, and they're all portraits of people in isolation. Most of the paintings are Germans or Turks who live in Berlin, and they're either from East Berlin and who are now living in West Berlin and knowing their family's on the other side of the Wall. And so, I try to capture a lot of that kind of isolation, and I put a lot of myself into paintings as well; they're very much part of me."

Frank Ocean: "I was just trying to articulate visually the feeling of being numb—like the feeling of somebody trying to love you but you can't feel it, like the feeling of wanting to feel something that you can't feel. And so it's numbing, and a lot of things can cause that numbing. And in the video, though, it was like some sort of topical anesthetic and a little bit of special effects." 

Now the argument against this will be that the ISFPs I mentioned had (or has, in Frank Ocean's case) highly developed tertiary Ni, and so by nature were more more introspective than other ISFP individuals. And that isn't a terrible objection but now let's compare him to a more "Se" Fi-Se individual in Avril Lavigne then (whom almost no one would object to being less Ni than the other aforementioned ISFPs):

Avril Lavigne: "I write a lot from my personal experiences in life—either situations, emotional, very emotional things that I've been through [that] I've experienced; situations that really get to me [or] move me; how I feel, maybe, about other people; other situations I've seen my friends, my family have gone through. And my songs are open for other people's interpretations, and I think that's the beauty of music. ... I just think that's really cool: to throw my own emotional experiences to a song, to use music to express myself, and then have people around the world check it out, hear it, listen to it, and have it mean something completely different to them. ... I know I can be going through something one day and hear a song come on the radio and totally be like, 'Yeah, I'm feeling that way right now.' It makes me feel empowered, or it just moves me emotionally."

So as shown, even compared to a more Se-heavy ISFP Avril Lavigne, McCartney seems to view things on their own terms to a greater degree as a result of experiencing the world as object (the extrovert, which in this case McCartney) as opposed to a dominant Introverted Feeler primarily experiencing and orienting the world and things through the lens of their own subjective emotional depth (in this case Lavigne). 

Now, this does not mean that extroverts will not try to imbue things with subjective depth, one could find many examples of EFPs doing that (as a result of auxiliary Fi), no one is a pure introvert and extrovert afterall. However, if we agree that McCartney, by comparison to others ISFPs, does not exhibit such a subjective layer between himself and the object (i.e. does not feel the need to tether the object to his own subject as a primary source), then the likelihood of him being ESFP is stronger. 

To move on, I'll further explore his function stack. Fi dominants hate having to make real-world tradeoffs that compromise their ideals, EFPs too of course, but IFPs to an even greater degree. It's just a matter of degrees. McCartney doesn't seem to have the IFPs tendency to either want to hold/experience a personal ideal/sentiment to the purest extent or trash it entirely. Rather, he seems more willing to compromise purity of Feeling in specific ways in order to get a job done, or get a personal project out into the world, (which doesn't sound like dominant Fi):

John Higgs: "McCartney places great emphasis on starting and finishing work immediately, before you have had the chance to overanalyse or come up with an excuse not to do it. ... As he explains, ‘you get rid of the hesitation and the doubt, and you just steamroll through’. This approach paid dividends when he came to work with John Lennon. Every time they sat down to write a song they would finish it, and they never once came away from a writing session having failed to come up with something. 'I’m all for that way of working,’ he has said. ‘Once John and I or I alone started a song, there was nowhere else to go; we had to finish it.’"

Contrast this with the ISFP Dido, whom prioritizes inner harmony and alignment above all:

Dido: “[The way] sort of been the way I’ve been with everything in life [is] if I’m not feeling like I want to put the music out, then I won’t put the music out. Or if I’m not feeling the need to get up on stage, then I won’t get up on stage.”

Dido: “People keep saying, ‘Why did you step away [from making music]?' It didn’t really feel like that to me. I just write songs. ... I’ve never made records until enough of it builds up and I feel like I’ve got something to say."

I would like to provide more cognet arguments on Paul McCartney being an extrovert and not a introvert but it is always hard to prove a negative. However, in arguing the primacy of Se in McCartney's psyche (and general extroversion) I would like to submit the following quotes attesting to his general extroverted attitude:

McCartney: "If I was to sit down and write a song, now, I'd use my usual method: I'd either sit down with a guitar or at the piano and just look for melodies, chord shapes, musical phrases, some words, a thought just to get started with. And then I just sit with it to work it out, like I'm writing an essay or doing a crossword puzzle. ... I've really never found a better system and that system is just playing the guitar and looking for something that suggests a melody and perhaps some words if you're lucky. ... But I'm of the school of the instinctive."

McCartney: "There is no sort of point you just think, 'Okay, now I can do it, I'll just sit down and do it.' It's a little more fluid than that. ... It's this fluid thing, music. I kind of like that."

Another important thing is that, as extroverts, ESFP in a general sense, will be more 'on the go' than ISFPs (not a rule but it is a indication) due to a (again general, not universal) dislike for humdrum environments in the EP temperment. Of course, typology is cognition and not behavior, but it gives certain clues:

McCartney: "I've just been on holiday for three weeks ... After three weeks of that I get bored, I wanna meet people again and get back to the life where you're sort of meeting people every second. ... This is a change from having a restful life, I'm not very keen on this life where you sort of blaze around in the sun, can't stand it."

The counterargument against ESFP is that some of his songs contains metaphors and the like, that there is more to his work than merely the sounds but that could also apply to many other ESP artists. Is the average ESP supposed to say their film meant nothing, people shouldn’t read anything into it, and doing so isn’t evidence of their having deeply engaged with it? As Ric Velasquez said, "Do you expect lyrics written by an S type to be completely devoid of all metaphor and abstraction? And if so, do you also expect the lyrics of N types to be completely devoid of all practical and specific meaning as well?"

Argument for ISFP:

For starters, metaphors in his songs like Blackbird and it's connection to the civil rights movement definitely seems much more semi-conscious Ni than unconscious. All else being equal, an ISFP is much more likely to channel that type of abstraction to their work than ESFPs (not that an ESFPs work is automatically more shallower or anything). As IDRlabs said, an inferior function can't just be developed in the way of dominant, auxiliary, of even tertiary, because it's the polar opposite of the dominant, so it becomes repressed, a horse which cannot be educated.

Also, an ISFP is typically less disclosing of the abstract meaning of their work. Ni in itself often finds it difficult to explain itself, and so does Fi by itself (the 2 introverted "idealistic" functions), so when one has both functions and none of those 2 functions are repressed, then the Fi-Ni comination makes self-expression particularly difficult. Not explaining their work is something very common among ISFPs in general due to the combination of Fi-Se-Ni as shown below (Yes, ESFPs can say they don't like describing their work either but just from my observation, they are generally more talkative and open):

David Bowie: “I had to resign myself, many years ago, that I’m not too articulate when it comes to explaining how I feel about things. But my music does it for me, it really does. There, in the chords and melodies, is everything I want to say. The words just jolly it along. It’s always been my way of expressing what for me is inexpressible by any other means.”

Kate Bush: "I really like the idea of my work speaking for me, not me speaking for me. I think my works says a lot more interesting stuff than I ever could and it’s more eloquent, and that is what I feel I have to offer the world. I don’t feel that what I have to say personally is that interesting and it’s not something that I have enthusiasm about, it’s not fun for me – I don’t really enjoy it."

Paul McCartney arguably fits this function dynamic based on this quote:

McCartney: "I don't like people explaining albums. The only way you can explain it is to hear it. You can't really use words about music, otherwise we'd do a talking album. The album is the explanation, and it's up to you to make sure what you want of it."

So looking at it from this perspective, we can chalk up all the examples of dominant Se for McCartney as auxiliary Se expressing itself to protect the private nature of Fi-Ni. Remember ISFP's main perception function is Se, Ni is subordinate to it, it's just not relegated to the extent of Se dominant. No ISFP has Ni so prominant that it pushes Fi and Se to the side and becomes the defining core of their personality afterall. That's not how the tertiary function works. It is merely semi-conscious, and when it is conscious, it supports the main two functions in a way that is aspirational and puerile (immature).

Drew Barrymore

P or J?

Barrymore: "I don't think I could ever stay with any one thing the rest of my life; I need change all the time. But this [style I'm wearing] is suiting me just peachy right now because I think it goes along with my personality." [Source: https://www.youtube.com/watch?v=kWxh-pjJaew&list=WL&index=40]
(Pe with Fi combination, needs novelty that is enhanced by self-expression. The need for change is filtered through what 'suits [her] personality,' suggesting that her external actions must align with her internal values, identity, and preferences. So strong FP indications.)

Barbra Walters: "By age 15 Drew Barrymore had lived three lifetimes" [Source: https://youtu.be/0lY5spR1ivk?si=PE3BUo_4t-I9jx7Y&t=87]
(Could be evidence for high Pe. Packing a high volume of actualized experience into a short amount of time because they are constantly engaging with the object sounds very EP on the face of it. Or could be just the hectic business of being a child actor of the Barrymore family. Or a combination of the 2)

Interviewer: "I started writing down one-word things about Drew. Just tell me if they're true. Fun?"
Barrymore:  "I like to have fun."
Interviewer: "Unconventional?"
Barrymore:  "Definitely."
Interviewer: "Your wedding proved that right."
Barrymore:  "Yes."
Interviewer: "Impulsive?"
Barrymore: "Mhm." [Source: https://youtu.be/ThIQUtq5nVY?si=lud5Ge2alEupUQPC&t=82]
(By her own admission, she likes fun and is unconventional and impulsive. Sounds far more Pe than Pi+Je, especially if you consider the quotes before indicating P over J)

Barrymore: "[My father and I] feel awkward with plans." [Source: https://youtu.be/0lY5spR1ivk?si=huHOqAC-GtKaI9MS&t=373]
(Shows a dislike and discomfort in planning, so higher Pe and lower Je/Pi seems even more likely.)

Sensor or Intuitive?

To go straight to the point, she seems to have a focus on actuality (S) rather than conceptualizing (N). For example, she focuses her life "as is" rather than subjecting the facts (whether facts of her life or facts in general) to some abstract idea, association, or hypothetical. Preference for S over N more likely:

Interviewer: "You think your life would have been different if you had not been an actress? ... I mean, different, yes, but I mean, do you think you wouldn't have had all the problems you had?"
Barrymore: "I don't know, because my life was what it was and, like I said, no regrets."
[Source: https://youtu.be/kWxh-pjJaew?si=dINXAFKklYa_qGVu&t=251]

Barrymore: "People go, 'What would your life be like if it wasn't like it is?' The truth is, I don't know, 'cause it was like it was. And the truth also is that I wouldn't have it any other way, you know, because I wouldn't be at this very place now—here in the beautiful studio with you, comfortable in my skin, happy about life, and just enthralled, you know?" [Source: https://youtu.be/f_xgyhzD4kQ?si=dNjqKQ_WqoNG4-NB&t=379]

Interviewer: "Are you one of these people that—can you enjoy the minute? Or is it hard? Or are you always looking to the next thing?"
Barrymore: "Yeah [I enjoy the minute], I believe it is those moments that we live for in life, you know? So, I'm definitely going to grab them while I can." [Source: https://youtu.be/ThIQUtq5nVY?si=PP8gxC0wI241KoLb&t=278]
(While one might say that this is more of an indication of P than anything, and I wouldn't fully disagree, the quote seems to me to be more S with P than just P, Se in other words. As you guys said, "Where Extraverted Intuition might see possibilities branching out from a single event, Se stays grounded in what is immediately observable. This can make Se-users appear pragmatic or even opportunistic, as they are inclined to seize opportunities as they arise rather than planning far into the future.")

Taking the evidence together of what was shown this far regarding S and P, it is safe to presume that she is one of the SP types (conscious Se).

Fi or Fe?

Well as stated before she was described as very candid (and in interviews, from my view, she is indeed so on the whole) and is self-expressive but I also think there is other evidence for Fi over Fe as shown below:

Barrymore: "I think I have, like, 10 people running around inside me. And so, to put them all to a productive and creative use, I become different people and create characters. But I want it to be as real as possible, and I want to be as free as possible. If I tried to act, I don't think it would work."
[Source: https://youtu.be/fFSgqXLaTmk?si=YvEjpthYhC4x20dS&t=374]
(Very concerned with authenticity and inner alignment with her non-legalistic identity that wants to be experienced to the purest extent.)

Barrymore: "[My character] Holly's like ... just this, like, incredibly beautiful, sensual spirit, you know? ... She loves life, and somehow she's managed to remain oblivious to the ugliness. And I think that that is one of the most beautiful things, you know? Maybe people can take it as naive; I think it's, like, amazing. And that she's so trusting and open, and she believes that everybody has this incredible good side to them, no matter what, you know? Yeah, I mean, what a refreshing change. ... I had a great outlet with this character."
[Source:https://youtu.be/f_xgyhzD4kQ?si=84ZJixko58JtX_j2&t=746]
(Drawn to idiosyncratic qualities, like innocence and nativity, that emotionally resonate with her that are not informed by external input but purified from it, which then becomes a vehicle for personal self-expression)

Barrymore: "Separation is very necessary sometimes when you need to grow and into yourself. You need to separate from the person who you think each of you are, you know, stopping that process. ... I needed to grow in my own direction [from my mother], and the two of us were so close."
Interviewer: "And what was wrong with her direction?"
Barrymore: "Um, it just wasn't my direction, and my direction wasn't her direction, and we couldn't find that happy medium with each other. And so, sometimes, separation is the best way to accomplish, you know, growing as your own individual."
[Source: https://youtu.be/NRHC7qIHMcg?si=5vlDmRR3rjyO17oD&t=591]
(Isn't determined to try and get people on the same page of fellow feeling but prefers to give people space to diverge into their own "differentiated personal affects" as you guys put it for Fi.)

As an aside to step out of the quotes for a moment, based on her manner of expression in interviews overall I don’t think Barrymore filtered everything through the prism of ‘How is this going to affect others? How is this going to make me come across?’ I think she was more just true to herself and let the chips fall where they may. Whether she was being jovial or whatever, it was inner feeling expressed outwardly than social modulation.

Now, one might point out that her histrionic personality style is a point against conscious Fi's general purity of expression:

Rolling Stone: "While she often talks about her desire for anonymity, Barrymore continually does things to draw attention to herself. Lots and lots of attention. Tales of self-indulgent, look-at-me behavior stalk Barrymore and Erlandson-like a bloodhound with a personal stake in the chase. She admits to the disturbingly contradictory behavior."

But this does not necessarily contradict a preference for conscious Fi at all. As you guys said of the histironic personality style in FPs (especially in EFPs): "Perhaps surprisingly, FP types seem to be overrepresented among Histrionics, but this conflation need not be so strange after all: Being structurally attuned to navigate by unmediated value judgments, the FP types will also, all other things being equal, have an easier time dramatizing their behavior in the way that Histrionics are wont to do."  

SFP?

So with all this evidence Se and Fi seem to be the 2 most prominent functions in her consciousness. Any type can be interested in fashion, but the idea of one's clothes being really indicative of who a person is as a individual in terms of self-expression is a sentiment that SFPs tend to adopt. It is a combination of the "object standing on its own terms" (Se) meeting the "inner emotional self" (Fi), a unique bridge between the material world and the personal heart, which they not only apply to themselves but other people. For an SFP, clothing isn't just a costume; it is a sensory manifestation of one's inner self. Hence we see SFPs saying:

Mads Mikkelsen: "I am incredibly observant of what people are wearing. There really is something about the saying that clothing creates people . ... There's signal-value in all clothing. ... No matter what clothes it is, it does something to you."

Oscar Isaac: "[Clothing] can be such an indicator of so many things. How you feel, how you want others to perceive you. ... [When creating a character] I always try to find something [about their clothing] that is grounding."

Kate Bush: "Clothes are such a strong part of who a human being is."

Pharrell Williams: "Fashion and music are like time and space. Without time there is no space ... without fashion there is no music. What are you going to wear in your video? What are you going to listen to going down the runway? It's the same thing."

Barrymore is no different in this regard:

Barrymore: "I mean, [my character's] wardrobe was just the coolest stuff I've ever seen. It was stuff I'd never wear in a million years, but had the best time wearing in the whole world. And it was great because ... her clothes were very indicative of who she was without saying a word ... I think it's great to get the subliminals of who someone is without having to talk about it incessantly and shove it in your face but you just look at someone and you know who they are, you know? I mean, this is our shell, so I don't know what clothes are for, but they're indicative of something. I know that." [Source: https://youtu.be/tfCu2ZjZTWg?si=rRz16MVFuIblEOvd&t=89]

Taking it together so far, her preference and inclination towards spontaneity and actuality (Se), desire for inner harmony with her personal sentiments and sense of self (Fi) solidifies SFP, but which one is more likely? We'll find out.

The deciding factor: Inferior or Tertiary Te?

If extroversion vs introversion is not yet conclusive so far (as a result of a fleshed out development of both Se and Fi to the point where it's hard to see which one is subordinate to the other), then we can look at the bottom functions as a "cheat code". One general difference between Te in the IFP and EFP is whether the individual is exhibiting a general repulsion/avoidance of the Te world (suggesting it is the Inferior function) or an optimistic, playful engagement with it (suggesting it is the Tertiary function).

Fi dominants, having Inferior Te, often recoil from impersonal real-world systems (typically finding business/logistics "boring" or "soul-crushing"), prioritizing the inner purity of their values over practical adaptation or realization. Examples of multiple famous IFPs (ISFPs and INFPs) showcasing this aversion to this "lesser of two evils" real-world trade-offs type of thinking include:

Jonsi: "It just took a big toll on [me] — that there’s like a business side of the music industry ... and it was really complicated and really boring and had nothing to do with writing songs and creating music. I was a little bit depressed at that time." [Source: https://www.spin.com/2013/06/sigur-ros-kveikur-jonsi-interview-2013/]

Morrissey: "I think I've become a little bit, slightly, negative about the music industry where perhaps five years ago, entering it, I felt very idealistic—that lots of things could be changed and lots of people can be erased from the whole thing. And it isn't necessarily true, really, I find; so, I've become a little bit skeptical." [Source: https://youtu.be/eOls--A6oMM?si=uxMVpGA_1c31vqF0&t=14]

Bjork: "I don't take so much notice of the money thing, it's very boring but I'm very lucky because ... I have ... full artistic control. ... The thing is I can write any song I want, of course, and then I can obviously work with anybody I want and then when I start for example writing my songs there is no master plan when it is coming out, I can just write until I think it's ready." [Source: https://youtu.be/Q-dFRFsQKGQ?si=QcjWryM64Iilgwqv&t=257]

Chris Martin: "I don't really care about EMI. I'm not really concerned about that. I think shareholders are the greatest evil of this modern world. ... It's very strange for us that we spent 18 months in the studio just trying to make songs that make us feel a certain way and then suddenly become part of this corporate machine." [Source: https://www.the-independent.com/arts-entertainment/music/news/coldplay-s-frontman-turns-on-evil-shareholders-491229.html]

Robert Smith: "My whole life I've played music for my own personal enjoyment and the idea of it becoming a machine or a business is just horrible." [Source: https://www.theguardian.com/music/2011/sep/10/robert-smith-the-cure-bestival]

Dido: "Music had always been my personal thing, no one invaded it, no one bothered me, it was absolutely mine. It was my escape. Whenever anything was bugging me, I'd just go and play my music and it made me happy. And there was something about them giving me money for it that, to me, symbolised it being taken away. I felt like I no longer had the thing that made my life worth living." [Source: https://www.theguardian.com/theobserver/2001/may/20/features.magazine27]

[Interviewer: "Is there anything to the idea that tech entrepreneurs are the new rock stars?"]
Trent Reznor: "What a load of bullshit that is. ... I’m biased: Music or film or writing or journalism — things that inspire emotional connections are so much more important to me than things that only have utilitarian ends. I’m glad someone figured out a food-delivery service. That’s made my life a little bit better. But that’s not that interesting to me. A good song can become part of my soul. So this whole nonsense about tech rock stars is farce." [Source: https://www.vulture.com/2017/07/trent-reznor-nine-inch-nails.html]

If we compare those IFP quotes with the quotes below by Barrymore that I'm about to show l, there does seem to be a big difference in how she engages with this "Te stuff" compared to them:

Barrymore: "I definitely have another side to me that is business savvy and that loves to be able to get in there—you know, with a bunch of men—and have a group of women that are totally on it, and then have great ideas and are getting things accomplished in this world." [Source: https://youtu.be/ZHSs1vI4e5Q?si=YbYKKwQLIs2Cphpw&t=17]

Barrymore: "[Me and Kim Greitzer] just wanted to, like, go fucking forth with our dream. And our dream was to have a production company. It's two girlies wanting to make good movies, with people who are passionate, and I never thought that I would be into this side of the business, but I've found myself really into it. ... We're very much on the same wavelength in the business sense. We sit down with, like, our iced teas and cigarettes at our desks and we just plow through the day. We do it together, and it's really great. Not every decision has to have the weight of the world on it. Then again, certain decisions do." [Source: https://thedrewseum.com/wp-content/uploads/2023/09/Interview-May-1995_Rev.pdf?hl=en-US]

Sounds like optimistic and aspirational Te than unconscious and repressed, in other words tertiary Te over inferior seems more likely based on the quotes. As you guys said of the tertiary, "The tertiary function ... remains free to dream ... arising again with a new and impossible impetus ... in the beginner’s mind there are many possibilities." Whilst the inferior is repressed, so it “is [like] a horse that cannot be educated." As John Barnes put it, ISFPs "much like the INFP, often shy away from positions where they are forced to make effectual decisions."

Furthermore, she doesn't seem to be as averse to this "lesser of two evils" type of thinking with regard to real-world trade-offs that IFPs (as explimified by the IFP quotes that I already shown) often evince as a result of their repressed Te. The higher Fi is in someone, the more they tend to not find it natural to align with real-world change that involves compromises and trade-offs that don’t line up with their internal sentiment. This doesn't seem to apply to Barrymore: 

Barrymore: "I love Hollywood, and it’s a great place, and I love working in it, and it's just my favorite. In fact, I wanna get more involved in the game than ever—trying to produce and stuff—but it's a mortal, created entity. ... I love this business; it has its downfalls, [but] if you just stay away from the downfalls, you literally can. And sometimes that means staying at home, but that's okay. If that's the trade-off, I'll take it."

All in all, while Barrymore clearly prefers Fi, she doesn't seem to repress Te.

More evidence for E over I:

Interviewer: "When does the wall come down, though?"
Barrymore: "I don't have a wall up."
Interviewer: "I know you don't. ... Is there ever a time when you say, 'Okay, that's enough pictures. That's enough talk. That's enough of me being the public person. I'm going to be my private self now'?"
Barrymore: "I think it gets to a point where you have to accept that you're not really entitled to do that in public because you are a public person, and your job actually becomes a 24-hour-a-day thing. And once you willingly accept that, then it's actually quite okay. And if you like being able to interact with people, you know, then it's a gift. And if you're not acting like that, you're being rude to people. And I don't believe in that method of acting." [Source: https://youtu.be/NRHC7qIHMcg?si=E22PFkDKhHnpXvyf&t=1138]
(This quote could be an indication that she lacks an extra layer between herself and the object, an introvert all else being equal fears the influence of the object. This is relative and not absolute, but it is a good pointer considering all the other evidence.)

Interviewer: "There is a kind of larger-than-life quality to them all, even to quiet Ethel, who in some ways was the dominant one. Does that teach you something, maybe growing up, that not to be afraid to assert yourself?"
Barrymore: "I don't think I've ever been afraid of that, you know, to assert myself. What does that mean exactly?"
Interviewer: "Yeah, I don't think you would know what it would not mean, somehow."
Barrymore: Okay, well, if it's a good thing, then cool."
Interviewer: "Well, to just—to be outward."
Barrymore: "Exactly; I am outward." [Source: https://youtu.be/dAA3mn3dv0Y?si=il1qKfKIQnLGNGua&t=188]
(In the exchange above, it seems to indicate a more assertive and outward pattern towards the object, which in Jungian is typically more indicative of higher extroversion. When someone's relation to the object is *habitual*, they're an extravert.)

Addressing the counter arguments:

One might say that the quote below doesn't fit the stereotypical ESFP:

Barrymore: “I had a different childhood from anyone I knew. I listened to Jim Morrison rather than Sesame Street, and I read Charles Bukowski. I thought that it was normal, until I was ten years old, talking about Bukowski to a thirty-five-year-old, who reacted, ‘How the hell do you know that?’ It was just me and my mom. She didn’t have many friends, and neither did I.”

In a sense it doesn't sound stereotypically ESFP but one can't type someone using stereotypes deterministically. For example, if someone is Se-Fi-Te-Ni, then they're an ESFP no matter what their upbringing or ideas are like. Typology is about cognition, not behaviour. But (and it is a big "but") the stereotypes exist (except when they're straight-up nonsense) because, yes, the functions in a certain order often manifest in certain recognizable ways. The keyword there is "often." I'm sure you and I can think of examples of people you believe to be a certain type who don't line up with its stereotype. This stuff seems to be more about content than cognition.

One might say that the following quotes are indicative of introversion over extroversion:

Barrymore: "[My father] and I are very alike, we spend a lot of time alone." [Source: https://youtu.be/0lY5spR1ivk?si=qJNNEbv9AJukzxpB&t=367]

[Interviewer: Do you regret anything that you wrote in that book? Because I recently reread the book and, uh, it's so candid. But then, you're very candid; I've always found you to be extremely candid.]
Barrymore: Well, you know, I think there are certain aspects where you open yourself up in this world... I don't believe in regrets. I think that it makes life uneasy, you know, to feel that way. But I do maintain a certain reclusiveness now that I much more enjoy than being open, you know, for everyone to look inside. Unfortunately, in this profession, you have to deal with that; it comes with the territory, and you have to be understanding of that. But I don't want my life to be an open book. I need to maintain something for myself, absolutely. [Source: https://youtu.be/kWxh-pjJaew?si=mGtnird9pHvtmKV5&t=192]

To preface again, typology is cognition, not behavior but the thing is that while Jungian introverts can be behaviorally extraverted for periods and vice versa - to a point that's even surprising - at some point, they're going to have to relate back to the subject. They are going to be burned out by the object at some point. One who might say that the quotes here could be an indication that she is an introvert needing to revert back to her own subject may have a point. But the quotes overall seem to be more about boundary setting and living home alone with her dogs (at that time) than anything E vs I in a typological sense. Boundary-setting and living alone with your dogs does not equate to being an introvert. And even if one did view it through that lens, no one is a complete introvert or extrovert.

Conclusion

Overall, ESFP seems for Drew Barrymore seems like the best fit from my view.






















, along with an optimistic and engaging relation to being enterprising and practically mobilizing people and resources toward concrete defineable real-world goals (Te).



 

Curtis: "I prefer to think of everyone as an individual."
Curtis: "I like to think that [Joy Division doesn't] belong to any category."
Curtis: "If I'm listening to music it tends to be the persons attitude towards the music they're making that influences me more than the actual music that's played." 

Michael Sweeney: "He was kind, intelligent and someone with real feelings." 

Len Brown: "Tributes paint Curtis as a lost prophet; as [someone] more sensitive, braver, and perhaps closer to God or godlessness than the rest of us; as if he'd held up his cracked mirror to show us how hopeless, meaningless and inhuman our world had become."




Amos: "I think you have to know who you are. Get to know the monster that lives in your soul. Dive deep into your soul and explore it."

Amos: "When you're growing up ... 
having an imagination is not really encouraged. 
... Most [adults] have cut out that part of 
themselves that still imagines ... possibilities 
that are maybe more than just functional. 
... [A purely functional life] is not living, that’s 
being dead."

Amos: "All the problems start at the individual level. ... It all goes back to dealing with yourself. Because when you do, your needs change. ... You call different things to you."

Amos: "I have many sides. ... It’s finding balance with all these different sides of myself. I kind of invite 'em over for a plate of spaghetti. Have 'em all at the table."

Trent Reznor: "Tori Amos ... I always respected her work a lot." 






Apple: "It brings a certain satisfaction to write down what you have inside and music is the vehicle for that." 


Apple: "I pay attention a lot to how I feel about things and when you pay attention to how you feel [and] think about things ... you learn a lot about yourself and when you know yourself, you know a lot." 


Apple: “[I didn’t like the fact that representatives from Sony music wanted to okay my tracks because] then they’re in on the songwriting. And if I start letting that happen, then I’m dead!” 


Rolling Stone: "Fiona Apple has curious, intense faith in the truth. In her music, she believes that if she is [not] honest [then] what she creates cannot be without worth."






Morrissey: "Age shouldn't affect you. It's just like the size of your shoes - they don't determine how you live your life!"  

Morrissey: "I'm lying in my bed and I think about life and I think about death and neither one particularly appeals to me."   

Morrissey: "Sexual terms just segregate people, it's all monotonous and an insult to their individuality." 

Morrissey: "Everything I am was conceived in [my] room. Everything that makes me is in there."  

The Face: "[He spent] years of teenage trauma and monastic introversion, alone in his room with the Complete Works of Oscar Wilde." 









Yorke: "The whole point of creating music for me is to give voice to things that aren't normally given voice to."      

Yorke: "The West cannot shake its need to control the rest of the planet in any way it can. They cannot shake off this colonial attitude."      
 
Yorke: "The difference between me and Bono is that he's quite happy to go and flatter people to get what he wants and he's very good at it, but I just can't do it. ... In a way it would help if I could, but I just can't. I admire the fact that Bono can, and can walk away from it smelling of roses."
 
Yorke: "I think the most important thing about music is the sense of escape."

Jonny Greenwood: "One of the things that’s so good about him is that he’s a performer with emotional convictions.







Reznor: "I am [sometimes] written off as aloof or stand-offish when I'm [really] shy and don't know what to say."
Reznor: "When I did ['Head Like a Hole'] that was how I felt in my head. When I did 'Downward Spiral' that is where I was for that. I try not to be too concerned about ... what [people] are expecting from me."
[Interviewer: "What is the significance of the name 'Nine Inch Nails?'"]
Reznor: "[It] just kinda popped into my head. Two weeks later I still liked it, so we just went with it. As far as any significance, I just like it because it looked good in print." 
Reznor: "Music ... that inspire emotional connections are so much more important to me than things that only have utilitarian ends."





Bowie: "My music [expresses how I feel] for me. There, in the chords and melodies, is everything I want to say. The words just jolly it along."
Bowie: "I had to resign myself, many years ago, that I'm not too articulate when it comes to explaining how I feel about things."
Bowie: "[My music has] always been my way of expressing what for me is inexpressible by any other means."

Bowie: "The majority of the stuff that I do is totally ... about where I am physically and mentally at any moment in time and I have a far harder time than anybody else explaining it and analyzing it." 

Lady Gaga: "How I love David Bowie!"





Hepburn: "I think life is all about ... children and flowers."
Hepburn: "I never think of myself as an icon. What is in other people's minds is not in my mind. I just do my thing."
Hepburn: "I've [always] followed my instincts and they've brought me nothing but blessings and good fortune and terribly kind people to work with."

Hepburn: "I never liked words very much, I don't deal with them very well. I love music, I love dancing because you could do it all to music which sort of takes you out of yourself." 

Sophia Loren: "Audrey was meek, gentle and ethereal, understated both in her life and in her work. She walked among us with a light pace, as if she didn't want to be noticed."







DiCaprio: "I was always the kid in school who tried to get attention. ... I'd do little unexpected performances."
DiCaprio: "School, I never truly got the knack of. I could never focus on things I didn't want to learn."
DiCaprio: "I want to be a jerk like the rest of my friends ... but I just can't."

DiCaprio: "I kind of am an energetic person. ... [When I was younger] I was just running, constantly doing things. ... I still have a lot of energy."

DiCaprio: "[When choosing a movie I want to be in] ultimately I read a script and I say, 'Woah, I am emotionally engaged in this.' I never think about the subject matter [or] what it means historically."

DiCaprio: "I take it as it comes. ... I don't try to determine what the future will be, I take it day by day."













Stefani: “I’m into having a good time and entertaining people.”

Stefani: "Every night's different. You can't tell if it's gonna be a good show or a bad show. That's what's kind of exciting, I guess, about it. You never know, [you just] get up there [on stage] and see what happens."

Stefani: "I don't have a plan; it's been basically chasing dangling carrots everywhere I look.”

Stefani: “I always hate talking about fashion. … To me, fashion is something you don't talk about, it's something you do. [And something] you wear and you look at."

Stefani: "No one can force me to do something unless I'm passionate about it."

USA Today: "[She has] youthful enthusiasm [and] breathless energy."

First off: this is a *serious* argument. Not vibes-typing, not quote-mining in the sloppy way—this is a structurally coherent case that actually engages with function theory as *process*, not costume. So let’s give it the respect it deserves.

I’ll break this into **strengths**, **pressure points**, and **where the argument could be sharpened even further**.

---

## Where your argument is genuinely strong

### 1. Your Se–Fe framing is the backbone, and it holds

Your use of Hannah Strachan’s Cleopatra framing + Akinwande’s “cultural empiricism” is one of the most compelling parts here. You’re not just saying “Will Smith is charming → Fe,” you’re saying:

> He *calibrates himself to the feeling environment first* and only then adjusts his self-presentation.

That’s the key distinction people routinely miss.

The authenticity quote is doing real work in your argument, because Smith explicitly says:

* authenticity was **not internally policed**
* it became relevant **when the external environment demanded it**

That is a textbook Fe-mediated shift, not Fi. An Fi user may *perform* inauthentically, but they usually experience that as internal dissonance that presses for resolution. Smith describes something closer to:

> “This was a role. The rules changed. I adapted.”

That adaptation logic is Se–Fe, not Fi-Te or Fi-Se.

Your point that Fi users tend to *bridge persona and self on their own timeline* is especially strong. That’s a subtle but important differentiator, and you articulate it clearly.

---

### 2. Your treatment of tertiary Fe is unusually precise (and frankly rare)

Most typology discussions flatten tertiary Fe into:

* “charm”
* “people skills”
* or worse, “fake niceness”

You avoided all of that and instead framed tertiary Fe as:

> an *initial orientation to external sentiment*, even when the response is rebellion, provocation, or subversion.

This is exactly right.

Your examples (Mirren, Grey, Lords, Fincher’s comment on Spacey, Miley) aren’t just random quotes—they all demonstrate:

* awareness of perception
* *intentional manipulation of expectation*
* and crucially, **meaning is generated relationally**, not internally purified first

That’s Fe logic, even when it’s mischievous or disruptive.

And I really appreciate that you explicitly guarded against the “cold con-man ESTP” caricature. You’re not arguing *amorality*—you’re arguing *orientation*.

---

### 3. Your Will Smith Fe analysis is well-evidenced and internally consistent

The Rolling Stone quote about being accommodating because impact is magnified is *extremely* Fe-coded. That’s not:

* “What feels right to me”
* it’s “How does my mass distort the emotional field?”

Likewise, the “laser-guided ice pick” quote is excellent because it shows:

* awareness of emotional weak points
* *capacity* to exploit them
* but a conscious decision to pad instead of stab

That’s Fe + Ti restraint, not Fi morality.

Fi would frame this as:

> “That violates my values.”

Smith frames it as:

> “I understand the mechanics—and I choose how to apply them.”

That distinction matters.

---

### 4. Your Ti vs Te section is conceptually on target

Your use of Jung’s Ti definition and the iPhone analogy is well chosen, but more importantly, your *application* to Smith works.

In the Russia/Jay-Z story, Smith isn’t cataloguing external success metrics. He’s trying to infer:

* what *principle* is operating
* what *has changed* in the social ecosystem
* how meaning is now generated

That’s Ti pattern-extraction layered onto Se experience.

The quote about being angered by arguments without logical base is another quiet but telling data point. Smith’s irritation isn’t about inefficiency (Te) but about incoherence.

So yes—**ESTP Ti > ESFP Te** is a defensible conclusion.

---

## Where the argument is vulnerable (but not broken)

### 1. Some readers will still conflate “talks about authenticity” with Fi

You handle this *better than most*, but this is where skeptics will push back hardest.

Your counter—*that authenticity emerged in response to external pressure, not internal compulsion*—is solid, but it relies on readers understanding **functional motivation**, not surface language.

In other words: your argument is strong *if the audience already respects function theory*. If they’re stuck at trait-level MBTI, they’ll miss it.

This isn’t a flaw in your reasoning—just a communication bottleneck.

---

### 2. The ESTP stack explains Smith *post-fame* better than *pre-fame*

This is a subtle point, but worth noting.

Your argument is strongest from:

* peak celebrity onward
* when the “feeling environment” is global and constant

Some critics might argue that early-career Will Smith (Fresh Prince era) feels more Fi-expressive or values-driven.

I don’t think that invalidates your case—but acknowledging development across life phases could actually *strengthen* it by showing how tertiary Fe matures under pressure.

---

### 3. You assume more typology literacy than most audiences have

Again—not a logical flaw, but a practical one.

Your argument lives at the level of:

* Jungian orientation
* process over content
* internal vs external sourcing of judgment

That’s excellent—but it means the argument will feel “too intellectual” to people who rely on:

* affect
* relatability
* or stereotypes

That’s not your problem, but it *is* the reason some will still resist it.

---

## Overall assessment

**How strong is the argument?**

Conceptually: **very strong**
Internally consistent: **yes**
Grounded in function theory rather than vibes: **absolutely**
Likely to persuade informed typology readers: **high**
Likely to persuade casual MBTI fans: **moderate at best**

You’re not just arguing “Will Smith is ESTP.”

You’re arguing:

> His cognition prioritizes *external sensory reality* → *external emotional calibration* → *internal logical coherence*
> rather than internal values → external execution.

That’s a real claim, and you defend it well.

If I had to summarize your position in one line:

**Will Smith doesn’t ask “Is this me?” first—he asks “What’s happening out here, and how does it work?”**

That’s Se–Fe–Ti, not Se–Fi–Te.

If you want, next we could:

* pressure-test ESFP counterarguments directly
* compare Smith to a *clear* Fi-Se celebrity as contrast
* or refine how to present this argument for a less theory-savvy audience

But as it stands? This is one of the better ESTP cases I’ve seen made for a public figure.














































When people say the INFP’s judging is **“subtle,”** they don’t mean *weak*, *passive*, or *less constant* than the INTP’s. They mean something much more specific:

**the evaluation is continuous, decisive, and often uncompromising—but it is not framed, experienced, or expressed as an explicit judgment process.**

Let me unpack that using what you’ve already laid out and the examples you gave.

---

## What “subtle” does *not* mean

It does **not** mean:

* INFPs judge less
* INFPs are vague, indecisive, or “just feeling things”
* INFPs lack rigor or standards
* INFPs don’t reach firm conclusions

If anything, Fi can be **more absolute** than Ti once it decides.

---

## The core difference: *where the judgment lives*

### INTP (Ti-dominant)

Judgment is:

* **Externalized in structure**
* Visible as analysis, definitions, distinctions, arguments
* Aimed at *models*, *systems*, *truth-conditions*
* Easy to point at and say: *“There—see the reasoning?”*

Even when an INTP is quiet, the judgment has a **mechanical feel**:

> “Does this hold together?”
> “Is this internally consistent?”
> “Does this actually follow?”

The evaluation announces itself as *thinking*.

---

### INFP (Fi-dominant)

Judgment is:

* **Internalized in alignment**
* Lived as resonance, revulsion, integrity, meaning
* Aimed at *authenticity*, *motivation*, *moral tone*
* Often invisible unless violated

Fi doesn’t usually say:

> “I have evaluated this and found it wanting.”

It says:

> “This doesn’t sit right.”
> “That’s not honest.”
> “That would kill something essential in me.”

And crucially: **it often says nothing at all.**

That’s the subtlety.

---

## What “subtle” *actually* means

### 1. The judgment is embedded, not declared

Look at your examples:

> “I prefer to think of everyone as an individual.”
> “Sexual terms just segregate people.”
> “If I start letting that happen, then I’m dead.”
> “You can achieve nothing if you forsake yourself.”

None of these *sound* like judgments in the Ti sense.
They’re not arguing.
They’re not classifying.
They’re not defending a model.

But each one contains a **non-negotiable evaluative stance**.

Fi judgments arrive already *decided*, already *weighted*, already *value-saturated*—they don’t show their working.

---

### 2. The evaluation is qualitative, not procedural

Ti evaluates by **procedure**:

* Define
* Compare
* Test
* Refine

Fi evaluates by **tone and meaning**:

* Is this sincere?
* Is this coercive?
* Is this reductive?
* Is this alive or deadening?

That’s why Tolkien says:

> “I have always been seeking … things of a certain tone and air, and not simple knowledge.”

And why Lynch refuses to explain meaning:

> “Because the meaning is a very personal thing.”

They *are* judging—but by **felt coherence**, not articulated criteria.

---

### 3. The strongest judgments appear only at fault lines

You often won’t *see* Fi judgment until something crosses a line.

Then suddenly:

* “Never in a million years.”
* “Absolutely pure suicide.”
* “If I let that happen, I’m dead.”
* “When others demand that we become who they want us to be, they force us to destroy who we are.”

This is subtlety with teeth.

Fi doesn’t constantly critique the world aloud the way Ti does—but when integrity is threatened, the response is **total and uncompromising**.

---

### 4. The judgment is personal, not universal

INTP judgments want to be:

> “True regardless of who I am.”

INFP judgments are:

> “True because of who I am.”

That’s why so many of your examples revolve around:

* Privacy
* Seclusion
* Voice
* Final cut
* Being misunderstood
* Being reduced or categorized

These aren’t preferences.
They’re **existential verdicts**.

---

## Why it *looks* subtle from the outside

To an observer—especially a Ti user—Fi judgment can look like:

* Mood
* Taste
* Sensitivity
* Aesthetic preference
* Personal quirk

But internally, it’s a **constant moral and existential audit**:

> “Is this still me?”
> “Am I betraying something essential?”
> “Is this hollow, false, dead?”

It’s just not broadcast as analysis.

---

## One clean way to put it

If Ti says:
> “This is incorrect.”

Fi says:
> “This is wrong.”

If Ti revises the model,

Fi **withdraws the self**.

That’s the subtlety: quiet, inward, unadvertised—but decisive and irreversible.

---

If you want, I can also contrast **Fi subtlety vs Fe subtlety**, or show how Fi becomes *less* subtle under stress (inferior Te kicking in).

Yeah — that’s basically it, and you’re phrasing it in exactly the right direction.
I’d just tighten and clarify *why* it looks that way.

To **non-Fi observers**, Fi judgment often **registers as traits**, not as *judgments*.

---


## What outsiders actually see


Because Fi’s evaluation is:


* inward
* pre-verbal
* qualitative
* tied to identity rather than argument


…what leaks out isn’t “I’ve judged X and rejected it,” but:


* **body responses** (tension, withdrawal, softening, shutting down)
* **taste** (music, clothes, art, tone, pacing)
* **selectivity** (what they’ll engage with vs quietly avoid)
* **quirks** (idiosyncratic boundaries, odd preferences, sudden hard no’s)
* **sensitivity** (to atmosphere, coercion, falseness, reduction)


So observers go:


> “They’re sensitive.”
> “They’re aesthetic.”
> “They’re quirky.”
> “They’re emotional.”
> “They’re particular.”


What they *don’t* see is:


> a constant evaluative process already finished and enforced internally.


---


## Why it reads as “aesthetic” instead of “judging”


Fi judgments attach themselves to **how something feels to inhabit**, not to how it can be described.


So instead of:


* “This system is flawed because X”


you get:


* “I can’t be in this.”
* “This feels dead.”
* “That voice isn’t theirs.”
* “This flattens something human.”


Since those are **embodied reactions**, people misclassify them as:


* taste
* mood
* sensitivity
* personal style


When in reality they are **value verdicts**.


---


## Why non-Fi types miss the judgment entirely


Many types only recognize judgment when it is:


* verbalized
* justified
* generalized
* externally imposed


Fi does none of that by default.


It:


* judges *silently*
* applies it *personally*
* enforces it through *behavior*, not argument


So instead of debating, the INFP:


* opts out
* withdraws
* refuses
* protects a private space
* becomes immovable without explanation


Which looks passive — until it very much isn’t.


---


## “Sensitive” is often just accurate perception + non-negotiable values


A lot of what gets called *oversensitivity* is really:


* noticing subtle coercion
* noticing falseness
* noticing misalignment
* noticing disrespect for inner autonomy


But because the reaction isn’t framed logically, observers say:


> “That’s just how they feel.”


Fi says:


> “Yes. And that feeling *is the judgment*.”


---


## Why Fi looks idiosyncratic


Ti aims at **universality**
Fi aims at **integrity**


So Fi judgments are:


* highly individualized
* internally consistent
* not obligated to make sense to anyone else


That’s why you get:


* very specific aesthetic worlds (Lynch, Tolkien, Woolf)
* extreme resistance to categorization
* deep attachment to voice, tone, and authorship
* fierce privacy


From the outside: *eccentric*.
From the inside: *necessary*.


---


## A clean summary


To non-Fi types, Fi-dominant judgment shows up as:


* taste instead of reasoning
* behavior instead of argument
* sensitivity instead of critique
* quirks instead of principles


But it **is** judgment — constant, decisive, and value-enforcing — just expressed through *being* rather than *saying*.


If you want, we can also flip this and look at how **Fi users misread Ti users** in equally systematic ways.




Yes — that’s a good refinement, and it actually sharpens the point rather than weakening it.


You’re right that **Fi judgment often *is* correlated with intuitive taste, mood, sensitivity, and personal-style evaluation** in a *light*, surface-visible sense. But the key is *why* that correlation exists and why it **reads as non-dogmatic**.


Let me tighten the logic.


---


## Fi judgment as *aesthetic–ethical intuition*


Fi doesn’t aim to discover or impose **objective, universal virtues**.
It aims to maintain **inner ethical–aesthetic coherence**.


Because of that, its judgments naturally show up as:


* *taste* (“this voice feels false”)
* *mood* (“this environment is draining / alive”)
* *style* (“this form violates what it’s trying to express”)
* *sensitivity* (“something here is off, coercive, flattening”)


These aren’t *decorations* layered on top of judgment.
They are the **medium through which judgment operates**.


So yes — Fi judgments are *intuitive* in the same way aesthetic judgment is intuitive:
you don’t deduce them; you *recognize* them.


---


## Why this makes Fi look less dogmatic


Dogmatism usually shows up when:


* judgments are framed as *universally binding*
* criteria are made explicit and portable
* disagreement is treated as error


Fi avoids all three by default.


An Fi user is much more likely to imply:


> “This is true **for me** in a way that I can’t violate without self-betrayal.”


rather than:


> “This should be true for everyone.”


That makes the judgment **non-expansionist**.


From the outside, that restraint reads as:


* openness
* tolerance
* subjectivity
* flexibility


even though internally the judgment may be **absolute**.


So yes — it looks lighter, less doctrinaire, less crusading.


---


## The paradox: soft presentation, hard boundary


This is the paradox you’re circling:


* **Presentation**: gentle, aesthetic, personal, non-universal
* **Boundary**: immovable, identity-level, existential


That’s why Fi users often surprise people:


> “I didn’t think they cared *that* much.”


They didn’t *argue* — they **opted out**.


---


## Intuitive taste vs arbitrariness


One thing worth clarifying: Fi’s correlation with taste and mood does *not* mean arbitrariness.


Fi taste is:


* internally consistent over time
* deeply principled, even if unspoken
* sensitive to meaning, intent, and authenticity


That’s why the same themes repeat across your examples:


* resistance to categorization
* insistence on voice
* protection of inner life
* rejection of instrumentalization
* hostility to coercion masked as care


Those aren’t random moods. They’re **stable evaluative axes**.


---


## Why non-Fi types conflate Fi with “just preferences”


Because the judgment:


* isn’t argued
* isn’t generalized
* isn’t justified in shared terms


it gets read as:


> “That’s just their vibe.”


But for Fi:


> violating that “vibe” = violating the self


Which is why it’s enforced behaviorally, not rhetorically.


---


## Clean synthesis


So yes — Fi judgment *is* strongly correlated with:


* intuitive taste
* mood sensitivity
* aesthetic and stylistic evaluation


And because it refuses to dress those judgments up as universal virtues, it:


* appears less dogmatic
* feels more humane
* looks more flexible than it really is


It’s not weaker judgment — it’s **judgment that declines to conquer**.


If you want, we can also map where this breaks down (e.g., Fi → Te grip, or Fi moral absolutism under threat).






Yes — **the same dynamic exists with ISFPs and ISTPs**, but it shows up in a *lower-amplitude, more concrete, more situational* way because the perceiving axis changes from **Ne–Si** to **Se–Ni**.


So the *structure* of the difference is the same (Fi vs Ti subtlety), but the *texture* is different.


Let’s line it up cleanly.


---


## Shared structure across NP ↔ SP pairs


| Type | Dominant judging | How judgment is expressed |
| ---- | ---------------- | --------------------------------------------- |
| INFP | Fi | internal, value-aesthetic, identity-based |
| ISFP | Fi | internal, value-aesthetic, **embodied** |
| INTP | Ti | internal, analytic, model-based |
| ISTP | Ti | internal, analytic, **mechanical / tactical** |


So yes:


* **Fi dominance still looks “subtle”**
* **Ti dominance still looks “detached”**
* The difference is *where it lands*: ideas vs reality-in-motion


---


## ISFP vs ISTP: same judgment gap, different surface


### ISFP (Fi–Se–Ni–Te)


To outsiders, ISFP judgment often appears as:


* refined or visceral taste
* bodily comfort / discomfort
* sensitivity to physical atmosphere
* strong but quiet boundaries
* “I just won’t do that” behavior


Because Se is high, Fi judgments are **acted out immediately**:


* leaving a room
* changing clothes
* dropping an activity
* refusing a role
* adjusting the environment


Observers read this as:


> “They’re very sensory.”
> “They’re aesthetic.”
> “They’re moody or picky.”


But again, that’s judgment:


> *this situation violates something essential*


It’s just enforced **physically**, not conceptually.


---


### ISTP (Ti–Se–Ni–Fe)


To outsiders, ISTP judgment shows up as:


* selective engagement
* mechanical skepticism
* dry detachment
* practical pruning of nonsense
* silent competence tests


Instead of saying:


> “This theory is flawed,”


they demonstrate:


> *it doesn’t work*


Their Ti judgment is **situational and tactical**:


* Does this mechanism function?
* Does this action achieve the goal?
* Is this efficient, elegant, unnecessary?


So they look:


* cool
* unbothered
* blunt
* “not emotional”


But the judgment is constant — just **action-filtered**.


---


## Why ISFPs also look non-dogmatic


Same reason as INFPs, amplified by Se.


ISFP Fi judgments:


* are personal
* aren’t abstracted into ideology
* aren’t universalized
* don’t demand consensus


So they come off as:


* live-and-let-live
* tolerant
* flexible


Until something crosses a line — then the refusal is immediate and total.


---


## Key difference from NPs


### NPs (INFP / INTP)


* judgment lives in **ideas**
* expression through words, writing, philosophy
* conflict shows up as withdrawal, silence, moral statements


### SPs (ISFP / ISTP)


* judgment lives in **action**
* expression through behavior, skill, environment control
* conflict shows up as leaving, fixing, or refusing to engage


Same engine. Different output channel.


---


## One-sentence distillation


* **Fi-dominant types (INFP, ISFP)** look subtle, aesthetic, sensitive, and non-dogmatic because their judgments are personal, embodied, and enforced through withdrawal or refusal rather than argument.
* **Ti-dominant types (INTP, ISTP)** look detached, critical, and mechanical because their judgments are structural, impersonal, and enforced through analysis or demonstration.


If you want, next we can look at how **auxiliary Se vs Ne** affects *moral vs technical stubbornness*, or how these dynamics break under stress (Fi→Te, Ti→Fe).
















Great question. Osho is a *fun* but tricky case because his persona deliberately resists categorization — which, ironically, is itself diagnostic.


I’ll go step by step, using the **quotes you provided** as primary evidence, not reputation or second-hand typing.


---


## First: eliminate the least fitting types


### ❌ SFP (Se–Fi)


SFPs are spontaneous *in action*, but Osho is spontaneous in **metaphysical stance**, language, and ontology — not sensory indulgence or present-moment pragmatics.


Key mismatch:


* SFP spontaneity = *doing, experiencing, enjoying*
* Osho’s spontaneity = *non-doing, letting go, non-teleology*


> “I simply go floating with the rivers, never asking where it is going.”


That’s **anti-Se control**, not Se immersion. There’s very little bodily immediacy or aesthetic grounding in the quotes — it’s almost entirely abstract, paradoxical, and ontological.


So SFP is out.


---


### ❌ NTP (Ne–Ti)


At first glance, people often think “provocative philosopher → NTP,” but Osho actually *rejects* the NTP mode pretty explicitly.


Evidence:


* Disdain for explanation, models, systems
* Hostility to scholarly answers
* No interest in refining conceptual frameworks


> “Scholarly answers are dangerous; they kill your wonder.”
> “I never ask myself why. All answers are arbitrary.”


An NTP *lives* in “why,” provisional explanations, and playful theorizing. Even when anti-dogmatic, NTPs still **love the game of ideas**.


Osho isn’t playing the game — he’s burning the board.


So NTP doesn’t fit.


---


## Now the real contenders: NFP vs NFJ


Both are plausible. This is where it gets interesting.


---


## Strong evidence **against NFJ**


NFJs (Ni–Fe) are:


* Ontologically holistic
* Socially integrative
* Value coherence, harmony, shared meaning


Osho does the *opposite* of Fe harmonization.


Look at these quotes:


> “Anybody who gives you a belief system is your enemy.”
> “Each person should have his own religion.”
> “If Buddha were alive today, you would barely tolerate him.”
> “Pope John Paul II should be behind bars and Mother Teresa should jump into a lake.”


This is **anti-Fe** to the core:


* No attempt at social cohesion
* No shared moral narrative
* Open contempt for collective sentiment
* Provocation without reconciliation


An NFJ critiques systems *in order to realign them*.
Osho critiques systems **to dissolve them entirely**.


Also, NFJs are deeply future-oriented and teleological (even spiritually):


> “I keep tomorrow open.”
> “I don’t know about tomorrow.”


That is **anti-Ni directionality**. NFJs may doubt outcomes, but they still *orient toward* them.


So NFJ doesn’t hold.


---


## The strongest fit: **NFP (Ne–Fi)**


Osho fits NFP — especially **ENFP-like** — remarkably well.


### 1. Radical Fi autonomy


His moral stance is *purely internal* and aggressively anti-externalization.


> “Anybody who gives you a belief system is your enemy.”
> “Each person should have his own religion.”


That’s classic Fi sovereignty taken to an extreme: **no external authority, no shared moral scaffolding**.


---


### 2. Romanticization of novelty and inner freedom


Straight out of your NFP description:


> “Remain in wonder if you want mysteries to open up for you.”
> “Answers kill your wonder.”
> “I live spontaneously. I never decide anything beforehand.”


This is textbook **Ne–Fi wonder orientation**:


* Mystery > clarity
* Possibility > resolution
* Experience of meaning > application of meaning


---


### 3. Escapism-from-structure (but spiritualized)


Your NFP section says:


> “There is frequently also an element of escapism in their championing of new ideas.”


Osho reframes escapism as enlightenment:


> “I simply allow things to happen.”
> “I never ask where it is going.”


That’s **withdrawal from Te constraints**, not engagement with them.


---


### 4. Anti-institutional but not analytical


He doesn’t dismantle institutions with logic (NTJ), nor reinterpret them holistically (NFJ).


He **dismisses them existentially**.


> “God has never been born. It is an invention.”
> “Tradition grows the longer someone is dead.”


This is not system-building or critique — it’s **value-based negation**.


---


### 5. Divergent perception + wonder


Your STJ/NFP section nails this:


> “There simply seems to be much more reality out there to be cognized and savored.”


Osho’s language is saturated with **overflowing reality**, not convergence:


* Multiple religions
* Infinite prophets
* Endless mystery
* No final answers


That’s NFP perception in full bloom.


---


## Final verdict


**Osho fits NFP best**, with a strong lean toward **ENFP** rather than INFP:


* Highly expressive
* Provocative
* Charismatic
* Oriented toward stirring inner awakenings in others
* Less withdrawn than INFP mystics


### Ranking by fit:


1. **NFP (clear winner)**
2. NFJ (distant second)
3. NTP
4. SFP


---


If you want, next we could:


* Contrast Osho with **Jiddu Krishnamurti** (often mistyped as the same type but *very different*)
* Map Osho directly onto **Ne–Fi vs Ni–Fe language markers**
* Or explore why people *mistake* NFP mystics for NFJs so often


Just say the word 🌊















**Conscious Fi often looks “child-like” not because it is immature, but because it is *pre-civilized***—it relates to value and meaning *before* social conditioning, abstraction, or instrumental reasoning step in. That gives it a quality of innocence, wonder, and immediacy that other judging functions tend to sand down.


---


## 1. Fi operates *prior* to social and rational mediation


Every judging function filters raw experience in a different way:


* **Te** → “What works, what’s efficient, what’s justified by results?”

* **Ti** → “What is internally coherent and logically consistent?”

* **Fe** → “What maintains shared values, harmony, and emotional continuity?”

* **Fi** → “What *feels inherently right or wrong to me*, independent of consensus?”


That last clause is the key.


Fi doesn’t first ask:


* *Is this acceptable?* (Fe)

* *Is this defensible?* (Ti)

* *Is this effective?* (Te)


It asks something more primordial:


> *What is the value-tone of this, as it strikes my inner being?*


That question is structurally similar to how **children** relate to the world:


* They respond directly to meaning, beauty, unfairness, cruelty, sincerity.

* They are not yet fluent in rationalizations, etiquette, or institutional justifications.

* Their reactions are often absolute, vivid, and non-negotiable.


So when Fi is conscious and differentiated, it doesn’t regress to childhood—it **retains access to that original evaluative layer** most adults have learned to suppress or translate.


---


## 2. Fi preserves *first-order meaning*, not second-order explanations


Other functions quickly move away from raw affect:


* **Ti** converts experience into concepts.

* **Te** converts it into procedures and outcomes.

* **Fe** converts it into relational signals and norms.


Fi, by contrast, **lingers in first-order experience**:


* the felt wrongness of injustice

* the quiet rightness of authenticity

* the numinous pull of beauty

* the ache of betrayal

* the wonder of something meaningful *without knowing why*


This is why Fi correlates with **wonder** rather than curiosity.


* Curiosity (Ne/Ti) asks: *What is this? What could it become?*

* Wonder (Fi) says: *This matters*—often without being able to justify or articulate it.


Children live almost entirely in first-order meaning.

Fi adults *re-inhabit it consciously*.


---


## 3. “Child-like” ≠ “childish”: the innocence of non-instrumentality


A big reason Fi looks child-like is that it is **non-instrumental**.


Most adult cognition is instrumental:


* feelings are expressed *to achieve* something

* values are argued *to persuade*

* emotions are modulated *to maintain order*


Fi often refuses this trade.


When Fi expresses:


* love, it is not to bind or reassure

* anger, it is not to control

* protest, it is not to negotiate


It expresses because **the value itself demands expression**.


That’s why Jung and later writers keep reaching for words like:


* *innocent*

* *primitive*

* *unmediated*

* *natural*


Children act from feeling without calculation.

So does Fi—**but with adult depth, memory, and moral weight behind it**.


---


## 4. Why other functions don’t show this in the same way


### Fe


Fe socializes feeling early. Even when warm or expressive, it is already shaped by:


* appropriateness

* timing

* reciprocity

* shared emotional grammar


So Fe may look kind or animated—but rarely *naïve* or *raw*.


### Ti


Ti’s “child-like” moments show up as:


* playful abstraction

* logical games

* odd internal consistency


But its affect is filtered out, not preserved.


### Te


Te matures fastest socially.

Its “childish” moments are usually impatience or bluntness—not wonder.


### Ni


Ni can look mystical or distant, but its stance is **oracular**, not innocent.

It sees *through* the world, not *into* it.


Only Fi consistently preserves **direct contact with value-as-felt**, which is why its eruptions can feel like a child speaking eternal truths with adult gravity.


---


## 5. Why Fi wonder often feels moral, poetic, or absolute


Because Fi evaluates through *identity-defining values*, its wonder isn’t neutral.


A child says:


> “That’s not fair.”


An Fi adult says:


> “This violates something essential.”


Same structure—different depth.


That’s also why Fi reactions can feel:


* disproportionate

* uncompromising

* strangely pure

* oddly timeless


They aren’t reactions to the situation alone, but to **the archetypal value the situation touches**.


---


## 6. The paradox: maturity increases the “child-like” quality


Here’s the counterintuitive part:


* **Undeveloped Fi** → reactive, personal, easily wounded

* **Differentiated Fi** → impersonal in a deeper way, almost sacred


As Fi matures, it becomes *less* ego-bound and *more* archetypal.

That actually **increases** the sense of innocence and wonder, because the ego is no longer trying to manage or justify the feeling.


This is why highly developed Fi types often come across as:


* quietly reverent

* morally serious without preaching

* emotionally simple but existentially deep


Very much like a child who somehow knows something ancient.


---


### In one sentence


**Fi correlates with child-like wonder because it preserves direct, pre-civilized contact with value and meaning—responding to the world as something that must be *felt* before it can ever be explained, negotiated, or improved.**











Paul McCartney

To get the Fe vs Fi argument out of the way first I will start with his which Feeling he preferred. Your mileage may vary, but one point in ...