Fictional ENTP traits: Fictional ENTPs tend to exhibit a cynical and often abrasive exterior, frequently employing wit and intellect to navigate a complex or flawed world. They may struggle with conventional morality or social norms, operating by their own code or a perceived higher understanding. This group generally embodies a cynical and highly intelligent demeanor, often questioning authority and societal norms. They possess sharp wit and a tendency towards unconventional problem-solving, frequently operating outside established rules. There's a underlying current of detachment, sometimes masking deeper vulnerabilities or a sense of disillusionment.

Fictional ENTJ traits: A driving ambition and a ruthless pursuit of power or a specific goal generally characterize ENTJs in fiction. They are often willing to make significant sacrifices, including those of others, to achieve their objectives, demonstrating a formidable and often intimidating presence. The individuals in this group are largely driven by ambition and a desire for control and power. They can be ruthless and calculating, often prioritizing their goals above the well-being of others. A strong will and a formidable presence are common threads, sometimes coupled with a sense of past grievance or a need for dominance.

Fictional INTJ traits: Fictional INTJs are often defined by their intense focus and intellectual prowess, sometimes to the exclusion of social or emotional considerations. Their pursuits can lead them down dark or morally ambiguous paths, driven by a deep-seated conviction or a perceived necessity. This group is characterized by intense focus, often bordering on obsession, particularly in the pursuit of knowledge, a specific goal, or a hidden agenda. They possess significant intellect and a capacity for complex planning, but their methods can be morally ambiguous or outright dark. There's a sense of being consumed by their internal world or overarching objectives.

Fictional INFP traits: A sense of displacement or a struggle with the norms of their environment is common within fictional INFPs. They may hold onto strong ideals or exhibit a vulnerability that sets them apart, sometimes leading to tragic or isolated circumstances. This group comprises individuals who often feel out of step with their surroundings or societal expectations. They may possess a deep sense of conviction that puts them at odds with the prevailing culture. There's a vulnerability and a potential for being easily overwhelmed or manipulated, yet they can also exhibit surprising resilience or a fierce adherence to their beliefs.

Fictional ESTJs: A diverse group, these individuals often possess strong convictions and can be quite assertive in their interactions. They may display a sense of a strong will that can come across as abrasive or uncompromising. While some may outwardly project confidence and control, others might grapple with internal turmoil or a struggle for dominance or acceptance. They can be driven by a clear set of beliefs, goal, rigid worldview and maintaining order, which can lead to conflict. While some exhibit a stern or controlling nature, others channel their intensity into fierce loyalty and a protective instinct towards those they care about.

Fictional ISTJs: A sense of reservedness, cautiousness, and a somewhat pragmatic approach to life are central to this group. They often value order, efficiency, and a degree of control over their environment or interactions. While they may not always openly display their emotions and appear on the surface stoic, formidable, or even detached, there is an underlying depth and a commitment to their responsibilities or personal codes, a strong sense of responsibility and a commitment to their values or those they protect. Knowledge and a no-nonsense attitude are frequently observed traits. 

Fictional ISFJ traits: Reliability, steadfastness, and a quiet competence are key traits in fictional ISFJs. They are often supportive, loyal, and grounded individuals who provide a sense of stability and reason to those around them. They often possess a nurturing quality and prioritize the well-being of others. Their impact is often felt through their steadfast support and unwavering dedication.

Fictional ESTP traits: Fictional ESTPs shares a tendency towards being highly adaptable, resourceful, and often charismatic. They navigate their circumstances with a blend of bravado, charm, and sometimes questionable methods, frequently operating in shades of gray. This is a highly dynamic and varied group, generally characterized by a sense of charm, adaptability, and a willingness to bend or break rules to achieve their desires. They often possess a certain roguishness or a flair for the dramatic. While some are driven by self-interest, others may operate with a more fluid morality, capable of both questionable actions and surprising moments of loyalty or genuine affection. There's a common thread of navigating the world through wit, manipulation, or sheer force of personality.

Fictional ISTP traits: Fictional ISTPs are characterized by a often solitary nature. They are highly capable individuals who operate independently and often possess specialized skills, operating effectively in dangerous or challenging environments. There's a sense of self-possession and a tendency towards independence, sometimes bordering on aloofness. They are often formidable in their respective areas and tend to be resourceful and resilient.

Fictional ESFP traits: Fictional ESFPs is generally marked by an enthusiastic, often naive, and sometimes chaotic approach to life. They tend to be driven by immediate impulses, emotions, or a desire for connection and excitement, often bringing a lively energy to their surroundings. This group is marked by their enthusiastic, often impulsive, and sometimes naive approach to life. They are generally cheerful, friendly, and enjoy connecting with others. While they may not always be the most strategic or intellectual, their optimism and genuine desire for fun and connection often see them through various situations. There's a strong sense of loyalty to friends and a tendency to embrace life's experiences with open arms.

Fictional ISFP traits: This group gives off a more grounded and perhaps introspective aura. While they may have moments of strong emotion or action, there's an underlying sense of thoughtfulness and a connection to their values or surroundings. They might navigate the world with a blend of resilience and a touch of idealism, often showing a capacity for deep care and loyalty. They "live and let live" and tend to go with the flow, not seeking to impose themselves onto other people.

Explain the general personality each group without going to the specifics of each character but also know the characters traits like just don't put them in the text:

1

 * Stéphane (The Science of Sleep)

 * Jonathan Larson (tick tock boom)

 * Anne Shirley

 * Hu Tao (Genshin Impact)

 * Nahida (Genshin Impact)

2

 * SpongeBob

 * Candace (genshin impact)

 * Leslie Knope

ESTJs can be similar to ENFPs who like to explore various intellectual insights and ideas eclectically (Ne) to bring about real-world change (Te) based on ideals and causes they believe in (Fi) but the ESTJ explores and experiments (Ne) in order to establish tried and true ways (Si) of managing and directing things (Te).

ISTJs are similar to INFPs who like to cultivate their inner passions, embracing what things personally mean to them (Fi) which are sustained and preserved (Si) in order to explore, ponder, and daydream the possibilities (Ne) related to their values but the ISTJ cultivates their inner ideals (Fi) as motivation to carry out their responsibilities in a diligent manner (Si-Te).

ENFJs are similar to ESTPs who like to come up with techniques (Ti) to socially navigate situations (Fe) in order to shrewdly adapt to, and in some cases leverage, the current ever-changing situation (Se) but the ENFJ observes the immediate situation or environment (Se) in order to bring about social change (Fe) based on their holistic insights (Ni) of humanity.

INFJs are similar to ISTPs who like to refine their perceptive insights (Ni) and essential principles (Ti) by testing out and demonstrate them in real-time via tangible results (Se) but the INFJ develops principles (Ti) in order to hold together an altogether more abstract vision fraught with personal meaning (Ni) and societal implications (Fe).

ESFJs are similar to ENTPs who like to critically dissect (Ti) various possibilities and insights (Ne) through discussing or debating them (Fe) but the ESFJ likes to explore various viewpoints and perspectives (Ne) in order to establish tried and true ways (Si) of aligning themselves and others on the basis of shared sentiments (Fe).

ISFJs are similar to INTPs who like to solidify (Si) their principles (Ti) through exploring various intellectual ideas and perspectives (Ne) but the ISFJ develops principles (Ti) in order to tend those they care about (Fe) dillegently and consistently (Si).

ISFPs are similar to INTJs who like to like to romanticize (Fi) their vision and symbolic insights (Ni) in order to bring and implement it to reality (Te) but the ISFP develops symbolic insights (Ni) in order to live their life in accordance to what they personally see as aesthetically beautiful in the moment (Fi-Se). 

ESFPs are similar to ENTJs who like to adapt to the current context (Se) in order to better manage resources and implement systems (Te) fueled by their big picture vision (Ni) but the ESFP leverages resources (Te) in order to live life to the fullest (Se) based on their inner passions and ideals (Fi). 

ESTJ vs ISTJ

1. Consciousness of Fi and Ne:

 * ESTJ (Te-Si-Ne-Fi): For ESTJs, Fi (Introverted Feeling) is their inferior function, residing in the unconscious. This means it's less developed, less readily accessible, and often experienced in less mature or integrated ways. Their Ne (Extraverted Intuition) is their tertiary function, making it semiconscious – they can access it, but it's not their primary mode of perceiving or exploring possibilities.

 * ISTJ (Si-Te-Fi-Ne): For ISTJs, Fi (Introverted Feeling) is their tertiary function, making it semiconscious. They have more conscious access to their values and personal feelings compared to an ESTJ. Their Ne (Extraverted Intuition) is their inferior function, residing in the unconscious, making them less comfortable with abstract possibilities and more focused on concrete realities.

2. Behavioral Manifestations of Fi:

 * ESTJ (Repressed Fi): With unconscious Fi, ESTJs are less likely to overtly express or prioritize individual values and subjective feelings in their decision-making. Their focus is primarily on objective logic and established facts/procedures. This can manifest as a more directive and less "live and let live" approach, as their internal value considerations are less readily available to inform their external interactions. They might be more focused on enforcing external standards and what they see as logically correct.

 * ISTJ (Semiconscious Fi): With semiconscious Fi, ISTJs have a greater awareness of their internal values, even if they don't always express them openly. This can lead to a more internal sense of what is right and wrong, influencing their actions in a more "lead by example" way. They might be less inclined to impose their values on others as directly as an ESTJ, having a more internal respect for individual autonomy, even if it's not their primary focus.

3. Behavioral Manifestations of Te and Ne:

 * ESTJ (Dominant Te, Tertiary Ne): Their dominant Te drives them to organize and direct the external world efficiently. Their tertiary Ne, while less developed, can sometimes manifest as exploring possibilities in service of their Te goals, but it's often more concrete and less abstract than a dominant or auxiliary Ne user.

 * ISTJ (Auxiliary Te, Inferior Ne): Their auxiliary Te is used to organize and structure their internal world and apply logical reasoning to maintain stability and order based on their Si understanding. Their inferior Ne makes them less comfortable with ambiguity, abstract possibilities, and sudden changes.

Applying this to Rowling (based on the quotes):

Rowling's strong emphasis on detailed planning (Si) and a structured, logical approach to her writing (Te) aligns with both types. However, the quotes don't give us direct insight into her Fi or Ne usage.

 * To lean towards ISTJ: We would look for hints of a more internal, value-driven motivation (even if subtly expressed) and potentially a discomfort or less developed exploration of abstract possibilities or sudden plot changes in her process.

 * To lean towards ESTJ: We would look for indications of a more external, directive approach (if we had information about her interactions) and a less overt focus on personal values in her work process descriptions.

Conclusion on Differentiating:

Based only on the provided quotes, the strong presence of conscious Si and Te still makes STJ the likely broad type, but without further information hinting at the nuances of her Fi and Ne, the distinction between ISTJ and ESTJ remains challenging.

You've highlighted a crucial nuance in how Si types (specifically ISTJs in this context) navigate different perspectives compared to ESTJs, and how both relate to their repressed Ne and their level of Fi consciousness. You're right to point out that while Si's repressed Ne can hinder the consideration of diverse viewpoints, their more conscious Fi can offer a different pathway to understanding others.

Let's break down the difference in how Fi and Ne contribute to considering different perspectives:

Ne's Role in Considering Different Perspectives:

 * Exploring Possibilities: Ne's primary function is to generate multiple possibilities, connections, and interpretations. When considering a situation or idea, Ne readily branches out to explore various angles and potential viewpoints, even those that deviate from the established or obvious.

 * Understanding Alternatives: Ne naturally sees that there isn't just one "right" way or one "correct" fact. It understands that different contexts, values, and information can lead to different valid perspectives.

 * Intellectual Flexibility: Ne contributes to intellectual flexibility and open-mindedness by making it easier to entertain and consider viewpoints that might initially seem unconventional or contradictory.

Fi's Role in Considering Different Perspectives (Specifically in Contrast to Te):

 * Valuing Subjectivity: Fi's core is about understanding and valuing individual, subjective feelings and values. While it doesn't inherently generate multiple intellectual perspectives like Ne, it fosters an appreciation for the fact that different people have different internal compasses and priorities.

 * Empathy and Understanding of Values: A more conscious Fi (as in ISTJs compared to ESTJs) allows for a greater capacity to empathize with and understand why someone might hold a different value or make a different choice based on their internal framework, even if it doesn't align with the ISTJ's own.

 * Respect for Individual Autonomy: This understanding of diverse values can lead to a greater respect for individual autonomy and a reduced desire to impose one's own values onto others. The ISTJ's "lead by example" approach often stems from this internal respect.

The Difference in How They Lead to Considering Different Perspectives:

 * Ne (Cognitive Exploration): Ne considers different perspectives by intellectually exploring various possibilities and interpretations of information and situations. It's about seeing the different ways things could be and the different logical frameworks that could apply.

 * Fi (Value-Based Understanding): Fi considers different perspectives by understanding and valuing the different internal emotional landscapes and values that individuals possess. It's about recognizing why someone might prioritize different things based on their personal feelings and beliefs.

Why ISTJs Might Be Better Than ESTJs in This Specific Aspect:

Because ISTJs have more conscious Fi than ESTJs (tertiary vs. inferior), they have a greater inherent capacity to understand and respect the diversity of values that drive different perspectives. Even if their repressed Ne makes it harder for them to readily generate alternative viewpoints, their Fi can lead to a recognition that different people simply value different things, which can temper the Te-driven urge to impose a single "correct" standard.

ESTJs, with their repressed Fi, are less attuned to these subjective value differences. Their dominant Te is more focused on objective logic and external standards, making them more likely to see deviations from these standards as simply "wrong" rather than stemming from a different set of values. Their tertiary Ne might explore alternative logical approaches but is still often in service of their Te's objective conclusions.

In Conclusion:

Both Ne and Fi can contribute to considering different perspectives, but in distinct ways. Ne offers cognitive flexibility and the ability to see multiple intellectual interpretations, while Fi offers an appreciation for the diversity of individual values. Because ISTJs have more conscious Fi than ESTJs, they may have a better inherent capacity to understand and respect different perspectives rooted in differing values, even if their repressed Ne can sometimes limit their ability to readily see alternative intellectual viewpoints. This makes them potentially less inclined towards the absolutist stances that can sometimes characterize ESTJs.

van der Hoop on Ne

If intuition is combined with an extroverted attitude, then the individual will form intuitive judgments of what goes on in the outer world and will be apt suddenly to discover connections between things without being able to explain them in a very elaborated manner. Extroverted intuitive perceptions and the actions and expressions resulting from them are sometimes surprisingly justified later on by events or by an indirect process of reasoning.

While sensation is chiefly concerned with the empirical actuality of things, intuition sees what is of noetic and ideational importance. Intuition is especially acute in discovering all the various possibilities of ideational development and activity. Even in cases where intuition is not the leading function, it is often capable of finding a solution where no other function could succeed.

Jung writes of intuition that if it predominates, all the ordinary circumstances of life seem to be enclosures out of which intuition must find a way. It is often seeking for new paths and new developments of life in an outward direction; all circumstances soon appear to the intuitive mind as a prison or as an oppression, which causes a longing for liberation.

Things in the outer world seem at times to acquire an exaggerated value when they can be made use of for the purpose of a solution, liberation, or the discovery of new possibilities. But as soon as they have served as a bridge or ladder, they seem to have lost all value and are cast aside as unnecessary lumber. A fact is only valued insofar as it may contain new potentialities that may outgrow the original fact and serve, in turn, to liberate the individual.

Possibilities that arise suddenly become compelling motives to the intuitive mind, and it will sacrifice for them everything else. In contrast with the advantages of this rich variety of possible activities, we find the disadvantages of such qualities as changeableness, fickleness, and lack of harmony.

My Typings (that's not on IDRlabs)

Disclaimer: The quotes shown here are not intended as standalone proofs (though a few of them are), but rather as extracted data from a specific context, such as an interview, from which we intuit a given function-attitude.

Morrisette: "I play with words linguistically like

they're paint."

Morrisette: "There was a time in my life, and

still an element of it now, where the only things

I wanted to do were things that scared me

[because in doing that] I felt alive, I felt like I

was transcending something, that I wasn't

stuck somewhere."

Morrisette: "Everything that happens is 

temporary for me."

The Atlantic: “Her verbosity [and] twee

wordplay [are] hard to resist. … She’s as

much of a storyteller ... as she is a

performer, which is why that sense of

identifying with her angst … is so sharp.”

 

Waltz: "Whether it’s a job, a relationship,

even a hobby that you follow for your own

amusement: eventually, you get to the

point where perseverance is what’s

needed."

Waltz: "I don’t like improvisation. I am not

a writer and creating a script is a writer’s

job. … I wouldn’t like it if an author came

up and told me how I should play a scene.

… I am not very good at it!"

Waltz: "[I do acting because] it's my
profession, no different than it is for any
other profession.”

Waltz: "I try to follow the lead of the writer,

and the script ... and find what's in the

case at hand and not so much in the

generalization of, for example, the genre

or the actor's persona. I really make an

effort to stick to the individual character

because it serves a very specific purpose.

And without the specificity you have more

or less nothing."

 

Waltz: "I think it is absolutely ridiculous that actors go on their bonus 

DVD interviews and explain what they were doing. That’s not what an 

actor does. ... It’s completely counterproductive for an actor to talk about 

his part."

Waltz: "I don’t like talking about [my roles]. If you go into a restaurant 

and you have been served an exquisite meal, you don’t need to know 

how the chef felt, or when he chose the vegetables on the market. I

always feel a little like I would pull the rug out from under myself if I 

were to I speak about the background of my work."

Waltz: "When Jochen Rindt was racing ... I remember everything about 

his crash; I remember exactly where I was, all the details. I’m not

particularly into motor racing, but I am into the tyre changes, the pit

stops. It is the most incredible thing to watch. That’s perfect

co-ordination between people and all their motor senses, every

movement perfectly rehearsed. Each person is 100 per cent perfect and

then it’s ten people together! The efficiency is breathtaking. ... this is ten 

people doing something which takes effort, concentration, knowledge 

and practice. It’s like playing a musical instrument."

Waltz: "I have a less romantic and idealistic approach to acting."

Waltz: "[Dialogue in film] should be dealt with with equal attention and 

diligence [as the visuals], but sadly it isn’t. You only have to listen to

people talk on the street, unless they’re talking this gibberish that seems 

to be the main mode of communication now."

Norton: "It's everybody's duty [and] social

responsibility to ... not be unpleasant."

Norton: "It is weird when you see people

without the 'wanting to be liked' gene, like you

see something like Simon Cowell or Anne

Robinson who [are] just quite happy to be

loathed. It's a weird thing isn't it."

Allen: "I never really liked school ... I didn't

really like sort of authority, and I kind of felt

like I wanted to educate myself, really. I just

knew I was never gonna be at a job that

required me to have a degree."

 

Allen: “[I'm open] to any opportunities that

come my way."

 

Allen: "I definitely hope I'm touching a nerve,

because I think that's what I like to do, is to

get people thinking."

NY Time: "She [has this] kind of irresistible

frankness that has gotten her, time and

again, in trouble."

 

 

Plaza: "The only thing I don't like about [my

previous roles] is if it prevented me from doing

other things, and it has become a bit of a

challenge, because people are stupid and

afraid to take risks."

Plaza: "The most fun part [is] trying to really

find the truth in every moment so that you're

not making these wild leaps of logic."

Plaza: "You can't be fully prepared for 

something like [acting] because you don't

know how it's going to feel [until] you're

actually in the moment doing it. ... [You] just

[have] to kind of do it."

Plaza: "I never had a time in my life where I

thought 'I don’t know what I want to do'. It was

always me saying, 'I know what I want to do

and I want to do it now!'"

 

Harper's BAZAAR: "[She has a] straight-

talking attitude. ... She cuts through the

usual obsequiousness of what can be."

 

Plaza: "Scenes where I'm breaking down or having really crazy

stuff happening to me [are] hard. I've not had to have all of those

emotions coming out of me. I'm not a super emotional person."

 

Plaza: "I’m just in the moment at all times.”

Plaza: “I guess whatever my character has to say, I have to say. I mean, 

what are words anyway? They’re just words: ‘chair’, ‘lawn’, ‘fuck’!”

Clark Gregg: “She’s fearless, she does it in a way that’s so humiliating 

and so embarrassing and so completely brave that you can’t help but

love her. And as someone acting with her, can’t help but go there with 

her.”

 

 

 

Burr: "You have to be up here [in your head] and think logical, and not be in your heart."

Burr: "[Stand up is] like, This is what I’m doing now. ... I obviously learned from a bunch of masters, but it always flowed into me. When you find what you’re supposed to do there’s not a lot of thinking. It just is."

Burr: "Life is all about getting knocked down and learning how to come back up even harder. Not being stupid about it and keep running into the same wall the same way, you adjust and try to get over it."

Burr: "I feel like we live in this ridiculously over-sensitive time where people get offended over nothing."

Harding: “Honesty is the great essential.

It exalts the individual citizenship, and,

without honesty, no man deserves the

confidence of the people in private

pursuit or in public office.”

Steven J. Rubenzer: “[He was] usually

cheerful and pliable.”

Steven J. Rubenzer: “Harding always tried

to maintain a positive approach.”

Steven J. Rubenzer: “He was decidedly

not ‘contemplative, intellectual,

introspective, meditative, philosophical.’”

Steven J. Rubenzer: "Harding's enthusiasm

and optimism were his real assets as

president."

Steven J. Rubenzer: "Harding had great difficulty resisting

temptation and was not inhibited or restrained. Not liking to do

things alone, he very much enjoyed big parties, spending time

with people, and being part of a crowd. Definitely not known as

cold or distant, he welcomed close relationships and was warm

and self-disclosing. He was outgoing and friendly toward

strangers, 'casual, easygoing, informal, natural, relaxed,' and

made friends easily. Harding clearly saw himself as a lighthearted

person and very plainly showed it when he was happy. His

feelings showed in his facial and body language; his gestures

were adroit. He often felt very energetic and vigorous."

Steven J. Rubenzer: "Harding and Clinton ... were warm and

self-disclosing, outgoing, friendly to those they just met, and not

detached, secretive, or reserved. Each enjoyed being part of a

crowd and showed his emotions in his facial and body language.

Neither had a reputation for being distant or cold, nor was

'bashful, shy, timid.' They preferred to do things with others rather

than alone and made friends easily."

Steven J. Rubenzer: "Virtually nobody considered him cold or

calculating. Nor was he defensive or lacking in humor about his

faults. He empathized easily with others, believed most people

were honest and trustworthy, and assumed the best about those

he met."

Natasha Bedingfield

"As a performer ... you have to just be who you are."

"I want people to have fun. We need to let our hair down sometimes, because we get so serious."

"I enjoy the fact that you get to try different styles."

"I like clothes that are flattering on your figure - they can be designer stuff or not you know. It’s quite fun to mix the high street with vintage - maybe one designer item or something. ... You can finish up mixing and matching a lot with other things."

 

 

Scott: “I want to live big. I want to laugh big, I

 want to love big, I want life to know I was here 

… and somehow make a difference in the 

process.”

Scott: “Don't let your character change color

with your environment. Find out who you are

and let it stay its true color.”

Scott: “[I] want to live every moment to the

fullest.”

Scott: “Bubbly. Perky. Outgoing. That’s what

grownups always say about me.”

Scott: “I [always] wanted to be on the front lines. I wanted to be there, 

right in the middle of everything. You know, I’m the girl who loves to 

make grand entrances. I’ll always choose vibrant, bold colors over 

boring pastels and given a choice, I’d rather go somewhere than stay 

home. … Rather laugh than cry.”

Scott: “When it comes to having a relationship with God, I could sit here 

and tell you what to do and what to say and how to pray, but where will 

that get you if you just sit there? … Best thing I can tell you is, go after 

God. … Christianity is not a label, but a lifestyle, something that has to 

be lived from the inside out.”

Scott: “I hate cliques. I’m not into being labeled in any way. I don’t like 

wearing jeans that have somebody’s name on my back pocket. Forget 

Khakis and shirts with little emblems and sweatshirts with big fat names 

across the front.”

Scott: “I wanted to be a high-impact, make-a-difference, love-the-world-

and-turn-the-tide kind of Christian. Not a wimpy, polite, no big deal, 

politically-correct-and-don’t-make-waves kind of Christian.”

Dido: "I really feel things deeply and that’s 

why I write songs."

Dido: “I write based on how I see and feel

things ... It’s all about transferring how I see

 the world into a song."

Dido: "To me a song is just about the flow of

it, it just has to flow and me to never notice

in a way, it has to feel whole and real.”

The Guardian: "[Her parents were] angry at

her lack of self-discipline."

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."

Dido: "I [am] very clear on what [I] like, and what [I] don’t."

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."

Why I Think Christoph Waltz is ISTJ

The following blog will be more casual and less exhaustive/elaborative like some of my other ones but it is still something I think is worth considering:

Introverted Perception

Waltz: "I don’t like improvisation. I am not a writer and creating a script is a writer’s job. Mine is to interpret it. I wouldn’t like it if an author came up and told me how I should play a scene. That said, I think I also don’t like improvisation because I am not very good at it!" [Source: https://www.festival-cannes.com/en/2013/interview-christoph-waltz-i-like-to-put-myself-in-danger-in-order-to-test-my-limits/]

Se/Ne prefer to "riff" on the external world in real time while Si/Ni prefers to take things down into a "internal laboratory" and work through it. All else being equal, the quote above suggests introverted perception (Si/Ni) over extroverted perception (Se/Ne).

Why Si over Ni

Per IDRlabs regarding the difference between Ni and Si, "the Ni type’s train of thought operates by unconscious amplification and association, not by ... elaborating on the meanings found in singular objects and instances (as with the S type). The factor of amplification by association is much more forceful in Ni types, whereas Si types prefer to stay with the one task at hand. As Jung also says, 'the Sensation type remains with things' (Tavistock Lecture I §33). This 'thing' may be big or small, abstract or concrete, long- or short-term, present- or future-oriented, but the common denominator is that the psyche of the Si type stays in harness throughout the task set before it, whereas the Ni type leaps between objects and tasks by way of association and amplification of the individual objects to fit an overall process of association, rather than staying with the individual object in itself. The Si type may also operate by amplification, but it is usually by way of the concentration and patient focus on the amplification of one object that the Si type reveals himself."

To my mind, Christoph Waltz does not align with the Ni type's tendency to leap "between objects ... by way of association and amplification of the individual objects to fit an overall process of association" but rather stays with the specific task at hand:

Waltz: "I try to follow the lead of the writer, and the script ... and find what's in the case at hand and not so much in the generalization of, for example, the genre or the actor's persona. I really make an effort to stick to the individual character because it serves a very specific purpose. And without the specificity you have more or less nothing." [Source: https://www.gq.com/story/christoph-waltz-dead-for-a-dollar-interview]

Another quote where I find his Si quite prevalent:

Waltz: "When Jochen Rindt was racing ... I remember everything about his crash; I remember exactly where I was, all the details. I’m not particularly into motor racing, but I am into the tyre changes, the pit stops. It is the most incredible thing to watch. That’s perfect co-ordination between people and all their motor senses, every movement perfectly rehearsed. Each person is 100 per cent perfect and then it’s ten people together! The efficiency is breathtaking. The cars are machines, and that’s interesting too, of course. But this is ten people doing something which takes effort, concentration, knowledge and practice. It’s like playing a musical instrument." [Source: https://www.gq-magazine.co.uk/culture/article/christoph-waltz-interview-2021#:~:text=The%20efficiency%20is%20breathtaking.,like%20playing%20a%20musical%20instrument.]

(Furthermore, we could also argue for Te in that quote, focusing on and admiring the external mechanics like the efficiency of the tire changes.)

Ni types utilize their Te/Fe to arrange things to align with their Ni visions, which are holisitc, radical, removed from daily life, and are accompanied by an unwavering conviction that tends to hinder collaboration or compromise when implementing them. On the other hand, Si types approach decision-making and organization more meticulously. Their Te/Fe serves to make decisions in accordance with their Si observations, which are detailed, practical, and grounded in everyday realities (even if it's with a personal angle). Waltz fits the latter moreso than the former:

Waltz: "I have a less romantic and idealistic approach to acting. Over there [Germany], the business is based on mediocrity. On a high level, admittedly, but mediocrity. You reach a certain level, beyond which you will not go. Not just in career but in challenges and opportunity. It's interesting for the specific issue of how to cope with an actor's life. To lead an actor's life. What do you do if you have a stretch of five years where you only get mediocre offers and nothing to sink your teeth into? That's where it is difficult. Becoming an actor is one thing. Being an actor is entirely different." [Source: https://www.google.com/amp/s/www.hollywoodreporter.com/business/business-news/awards-watch-actors-roundtable-92140/amp/]

Waltz: "[I do acting because] it's my profession, no different than it is for any other profession. In medicine, the best caregivers are those without passion. The doctors that are too passionate are very often the ones who make serious mistakes." [Source: https://the-talks.com/interview/christoph-waltz/]

Lastly, one may even argue that his frustration of the lack of the thoroughness of others with regard to film may be indicative of Si:

Waltz: "[Dialogue in film] should be dealt with with equal attention and diligence [as the visuals], but sadly it isn’t. You only have to listen to people talk on the street, unless they’re talking this gibberish that seems to be the main mode of communication now." [Source: https://www.gq-magazine.co.uk/culture/article/christoph-waltz-interview-2021]

Inferior Ne:

ISTJs repress Ne, which is the function that is correlated with easily expressing oneself verbally. They, similar to ISPs, can dislike prosing their work:

Waltz: "I think it is absolutely ridiculous that actors go on their bonus DVD interviews and explain what they were doing. That’s not what an actor does. ... It’s completely counterproductive for an actor to talk about his part." [Souce: https://www.theguardian.com/film/2023/apr/27/christoph-waltz-my-only-regret-is-that-i-didnt-attack-nigel-farage-enough]

Waltz: "I don’t like talking about [my roles]. If you go into a restaurant and you have been served an exquisite meal, you don’t need to know how the chef felt, or when he chose the vegetables on the market. I always feel a little like I would pull the rug out from under myself if I were to I speak about the background of my work." [Source: https://the-talks.com/interview/christoph-waltz/]

Another aspect of repressing Ne in Si dominant types is that this could lead them to seek to stay true to a select few ideas over diverting to a multitude of ideas, as is the case with Waltz:

Waltz: "Whether it’s a job, a relationship, even a hobby that you follow for your own amusement: eventually, you get to the point where perseverance is what’s needed." [Source: https://the-talks.com/interview/christoph-waltz/]

Waltz: "What keeps you going is stubbornness, economic necessity, or simply endurance. ... You need persistence." [Source: https://the-talks.com/interview/christoph-waltz/]

[When asked about equestrian]

Waltz: "Riding is like singing, you need to do it on a regular basis to do it elegantly and so it is at least sufferable for the other creatures involved, be it your family at home in terms of singing or the poor horse in terms of riding." [Source: https://www.gq.com/story/christoph-waltz-dead-for-a-dollar-interview]

Additional Notes:

Regarding Te, some of Te can be seen in the "Jochen Rindt" from the quote before but here's another that I think could be indicative of Te:

Waltz: "It's the result that makes the art, not necessarily the process that leads to it." [Source: https://www.google.com/amp/s/www.hollywoodreporter.com/business/business-news/awards-watch-actors-roundtable-92140/amp/]

Why Björk is ISFP (to IDRlabs)

By S. Kim

In this blog, I will explain why I believe Björk to be an ISFP. While there is much to discuss about Björk being an Fi type, this post will mainly focus on why she exhibits characteristics of Se-Ni rather than Ne-Si. Since IDRlabs did not respond to my previous blogs about Gwen Stefani and Carly Rae Jepsen, I have decided to present my arguments for Björk's type without further delay.

Why Se-Ni over Ne-Si

With regards to self-expression, IDRlabs has said the following, "as we know from Myers, Jung and van der Hoop, types who have Ne as one of their two top functions (such as INFPs) tend to find self-expression easy. ... By contrast, we know from the same authors that the concepts distilled by Ni tend to have a hard time finding an outwards expression that adequately conveys what is going on inside." While both Fi-dominant types may often feel that they struggle to do their Fi vision justice with regards to self-expression, all else being equal, an ISFP is going to typically have a much harder time expressing themselves verbally than an INFP and will see words as inadequate when trying to convey the inner values that they hold inside. That is to say, compared to the INFP, the ISFP typically doesn't like talking about their art/actions, as to them the art/action speaks for itself:

Björk: "[On tour I] do them interviews and try to explain something which is actually quite unexplainable, really. You know, I was asked earlier today to name 3 of my favorite albums at the moment and why, and it's just impossible, you know? And music should be that way, you know? It's unexplainable. It's one of the few things we got left in our culture which is not explainable." [Source]

Björk: "I find it more important to make music than to talk about it." [Source]

Additionally to all that was previously stated, IDRlabs has said, "of all the 16 types, the ISFP is perhaps the type that is the most at odds with expressing themselves adequately, because of their Fi-Ni axis. But their difficulty with traditional modes of self-expression will frequently be made up for by ingenious modes of alternative self-expression. (Through music, art, design, etc.)" The following exchange between Björk and Charlie Rose showcases this:

Rose: "My sense about you, in reading and knowing a little about your music, is that you have always been in love with sound - all kinds of sound."

Björk: "Yeah."

Rose: "Not lyrics, sound?"

Björk: "Yeah."

Rose: "Right? Tell me about that - all kinds of sound."

Björk: "Yeah, it's just the one most all-embracing, forgiving, understanding thing there is. Just in the full abstraction of it, it doesn't ask any questions, and you don't have to explain yourself. And it's the one world where that can cover all of the emotional levels of you. I'm the sort of person, when it comes to say something like language or just communicating on a daily basis, I feel like I'm trying to put an ocean through a straw. And with music..."

Rose: "Because you feel so much, hear so much?"

Björk: "Maybe just because I'm not very good at it, you know, but with music, it doesn't feel like that. And it's not only me making music, it's also listening to other people's music that it's just like a warm embrace, you know?"

Once again, the common theme of struggling with verbal self-expression is evident. Björk herself acknowledges that when it comes to language or everyday communication, it feels like trying to fit an ocean through a straw. However, when it comes to music, this challenge doesn't exist. This aligns with IDRlabs' analysis of ISFPs, who face challenges in adequately expressing themselves verbally due to their Fi-Ni but will often compensate for this by finding ingenious alternative forms of self-expression such as music. It also corresponds with IDRlabs' observations about Ni users, who have difficulty expressing their internally generated concepts outwardly.

Furthermore, Björk expresses her affinity and affection for sound (in the empirical sense) rather than lyrics. She describes sound as an "all-embracing, forgiving, and understanding entity" that does not require explanations or justifications. This perspective aligns with IDRlabs' interpretation of Se, which emphasizes its tendency to see phenomena as "self-evident" and standing independently. As IDRlabs states, Se operates "off of phenomena that are to a greater degree capable of standing on their own (i.e. being thought more 'self-evident') than is the case with the other ... functions." Sound, to her, is self-evident in its emotional depth and ability to encompass various levels of human emotions which, to me, comes across as Se being subordinate to Fi. One might argue that I may be misinterpreting the meaning of "self-evident" in this particular context, as used by IDRlabs. However, in my understanding, "self-evident" in relation to Se implies perceiving something that inherently stands on it's own terms, without the need for further explanations. In my opinion, the quote applies to her quite accurately. It is worth noting that Se might be slightly muted in her case due to her not being Se dominant and not repressing Ni.

In addition to the challenge of expressing oneself, another case for Ni in the exchange is where she employs Ni to incorporate her comprehension of "the full abstraction" of physical objects (in this case, sounds in music). However, it is important to note that her Ni isn't "differentiated." That is to say that her use of Ni, in this context, is in service of Fi and Se rather than the other way around. As IDRlabs has said about Ni in ISPs, "[their] Ni [is often] channeled into specific objects (arts/crafts) instead of intellectual theories." In the case of Björk, her Ni is not used for its own sake, but rather to understand the physical qualities and aspects of music (Se) that corresponds with her dominant function (Fi).

Her perception of phenomena as "self-evident" extends beyond just music, as it also applies to her performances (though this could admittedly apply to Te as well in this context):

[Interviewer: "Did you have a good time on stage?"]
Björk: "Yeah, it was good."
[Interviewer: "Why was it good?"]
Björk: "You know, it's just a feeling thing really. Hard to describe, really. Either it functions or it doesn't." [Source]

While ISFPs are not typically as cerebral, radical or dogmatic as types with more conscious (dominant or auxiliary) Ni generally are, their ideas, with the help of their semi-conscious Ni, are more focused and singular compared to an INFP, assuming all other factors are equal. To mention the Charlie Rose interview for one last time, the following quote showcases a great example of this singularity:

Björk: "The reason why I don't want to act again is not because of the film ... it's more that I feel my time is running out, and if I'm lucky, I've got 50 years and I still haven't even touched ... the music I want to write. And you have to be loyal and give yourself away to the music you love to get some results, you know. I think [the] sort of shallow 'I'll try a bit of that, I'll try a bit that, I'll try a bit of that' is not gonna give good work." [Souce]

Another aspect of Tertiary Ni in the ISFPs is that it makes their ideas much more elusive, in the mind of the ISFP. That is to say, compared to the evocative inner world of the INFP (Fi-Si), the ISFP's inner world is more elusive (Fi-Ni). The ISFP is going to typically want to capture and express that image, even though it may be impossible to fully grasp. A good instance of this Fi-Ni axis manifesting itself in Björk is later in the previously mentioned interview with Charlie Rose:

Rose: "Is [there] anything you want that you don't have?"

Björk: [Pauses] "I feel, to be brutally honest, the music I can hear in my head, I'm still very, very far from making that. So I just really have to be careful to concentrate my time and to continue, and if I'm lucky, I will maybe do it ... before I die."

Rose: "What do you hear in your head? What music?"

Björk: [Takes long pause] "It's very hard to describe. I guess I would like it to be both a lot more better crafted and complicated, but at the same time, a lot, lot, lot more spontaneous and still feel effortless. But then again, it's hard... yeah, I can't explain it."

However, as a disclaimer, it's important to note that the INFP can still face difficulties in translating their vision, similar to the ISFP. While their internal landscape may be more accessible, the challenge lies in capturing and conveying the depth of their inner values in a way that fully aligns with their original vision. Both types can struggle with bridging the gap between the abstract and the concrete but in slightly different ways based on the unique dynamics of their cognitive functions.

In addition to all that has been said, because of this difficulty in "expression in words and analytical prose," as IDRlabs puts it, one will typically find the ISFP relying more heavily on, and may be more interested in, non-verbal forms of expression and communication that Björk expresses in these examples:

[Interviewer: "Do you see your show, when you're on stage, as some kind of entertainment or music primarily?"]

Björk: "I see it as a communication. I don't want to analyze it because it would make it very boring for me." [Source]

[Interviewer: "Obviously, we all think of you as a musician. So, what do you think of the acting business?"]

Björk: "I guess I'm not really impressed, really."

[Interviewer: "No?"]

Björk: "No."

[Interviewer: "You only had one go; it might get better. What didn't you like?"]

Björk: "There's too much talking. Yeah, I'm more into singing." [Source]

Although one may conveniently dismiss all this evidence by saying that English is not her first language, I don't believe the quotes (or at least most of them) I provided are directly related to the context of a language barrier but rather reflect her inclination towards Se-Ni, for the aforementioned reasons I already mentioned. But even if her language barrier did play a role, it does not detract from the fact that she, regards music as unexplainable, perceives music that speaks for itself, prioritizes creating music over talking about it, exhibits an empirical interest in sound rather than lyrics, favors non-verbal communication and expression, prefers not to analyze her performances, and views the film industry as excessively verbose.

Björk's Attitude Towards the Immediate Situation

Now, when assessing someone's type, the parameters will always be relative but one recurring characteristic found in many INFPs is their tendency to be at odds with reality. That is to say they often experience a certain discontentment or frustration with the status quo and are attuned to issues that transcend the immediate situation. This can be attributed, at least in part, to the prominence of Ne in their consciousness. According to Jung and Myers, individuals with conscious Ne constantly desire a means to transcend and break free from the limitations of their current circumstances, even if they are uncertain about how such liberation can be attained (As IDrlabs has said, "the escape from the status quo is worth more to the Ne type than the world as we know it). Another aspect of this is their Tertiary Si; because they are dominant Fi types who prefer Si over Se, they tend to seek a more perfect reality isolated within themselves. (Kurt Cobain is a good example)

By contrast, while an ISFP (or any other type) can also feel frustrated with the current state of affairs, all else being equal, they tend to be more in tune with the natural flow of life than INFPs. This is because their Se is fully conscious, which allows them to be more at ease with reality. This does not mean that ISFPs are never at odds with reality (they are dominant Fi types after all), but rather that they are more at ease with the world around them and more willing to work within existing circumstances. In other words, ISFPs are more inclined to make the best out of the immediate situation instead of constantly seeking ways to transcend or escape from it like INFPs. 

I don't see Björk typically displaying (at least comparative to other INFPs) the same need to escape the status quo. Rather, her expression is based around either accepting or embracing the immediate situation (as opposed to trying to step outside of it):

Björk: "Say, if I do my next album in '96, it will be '96, like more 'now'. Not the collection of old songs." [Source]

Björk: "All these people who say cars are so ugly, pollution’s so terrible—it’s true, but if you don’t want to live here then move into the forest. And if you are gonna live here, you might as well accept it and make the most out of it.” [Source]

[When asked if the development of science and technology interests her, and if it's connected to Iceland's modernization]

Björk: "I think it's not me being obsessed with technology. I think it's more I want to be alive 'now,' 1997, I'm a European, and I want to be truthful about what I'm about." [Source]

Björk: "I think there's bad sides to [fame] but also good sides to [fame]. You know, it's sort of a thing that happens to you. I've met enough people who do similar jobs as I do to figure out that it's not about if you want it to happen to you or if you don't want it to happen to you, it sort of picks you more ... and then you have to, I guess, you just have to kind of live with it. And there are times when you don't want any of it - you don't want the bad things to come with it and you don't want the good things ... but then you kind of realize, because you're gonna have to deal with the bad things whether you like it or not, then you might as well enjoy the good things. Which in my case, the fact that at any given time right now, if I were to write a song now, I could go into the studio and I could ask certain people to come, ... and I could put it out and it would come out in the record shop." [Source]

As an aside, I would like to note that these quotes can't simply be chalked up to over-active tertiary Si. I personally wouldn't give the Tertiary function that much credit (even though we shouldn't underestimate it) but even if we were to consider that perspective, all (or at least most of) the quotes that was mentioned in this blog seem to suggest that her relationship with the empirical world is more visceral, dynamic, and flowing than refined, restrained, and archived. In addition to all the quotes that has been mentioned in this blog, here are more quotes that seem to suggest a preference for Se over Si:

Björk: "What's kind of always truly been ... where my heart is, is making music and ... sounds, noises, and surroundings that I find exciting and interest me. While being a singer is mostly like a bit of a tool to be able to do that." [Source]

Björk: "It’s very important if you want to enjoy life to have excitement about it, curiosity and appetite for it. ... I’ve got quite a big appetite [with life], I take a lot but I give. I’m very much about that and that’s what keeps me going. I need that like a junkie almost with my friends and people I work with.” [Source]

Additional Notes

Lastly, I would like to showcase another quote from Björk that indicates a Sensation preference:

Björk: "One of the reasons why I made my album [was] because I admire pop music so much, but I was so tired of going to record shops and not finding pop that fulfilled me. I wanted to make really, really simple songs that are about my life, you know? Something I can identify with, you know? So, I ended up having to go and do it myself, you know? I listened to the radio all the time and the pop channels, but so few tunes out there have anything to do with my life. I can't identify with them, these things, they never happened to me." [Source]

While this quote may showcase her preference for Fi more than anything, one thing I also got out of this quote was her preference for the actual occurrence over conceptualization or abstract association. She wants simple songs that reflect her real-life experiences, music that has a direct connection to her own life rather than relying on abstract association.