sense data

Western philosophers rated by fightability

Kant - You are in a town in Prussia. A frail looking man accosts you. He knows you know who he is. And he knows that you can see the glint in his eye that says the beating that he’s about to deliver unto you is going to be universalised. 8/10, it’s gonna get Copernican. 

Hume - A jovial looking Scottish man approaches. Despite his large frame and somewhat soft appearance you… you… uh, what? Is he here? Are you here? Is this, is this just a bundle of sense data? Somewhere, however in some small recess of your brain - if that’s a thing, you know he’s barrelling towards you at incredible speed. 9/10, this is going to hurt. Without doubt. 

Camus - You’re in a café. You think. It sounds like one, but all you can see is smoke and all you can smell is (other than smoke) deep thought. A man approaches. He smiles. Fighting you would be absurd, he explains, in beautiful floral French. You talk a while, about life, love, his work and honestly he just melts your heart. Fade to black. You awake the next morning refreshed and ready to continue fighting. 2/10, he left money on the sidetable. How rude. 

Sartre - You make your way onto a bustling Parisian street. You think. Again, it sounds like one but there’s a still strictly ludicrous amount of smoke. It parts like the red sea. A bespectacled man approaches. He looks at you, and you know that while this man may not know himself, he knows how to fight you. The smoke envelopes you once more. He’s coming. 9/10, hell is this fight in particular.

Žižek - You’re in a fast food restaurant car park in Slovenia, and so on. You are bizarrely aware of the nature of society as you sniff. You don’t have a cold. For some reason you keep thinking about batman. The Soviet national anthem begins to play as a bedraggled man emerges from a bin and lurches towards you and so on. 7/10, the ideology may be pure but this fight is going to get dirty.

Diogenes of Sinope - You’re in a barrel. Masturbating. You reckon you could get used to this. Maybe you’ll go and interrupt a lecture later. Suddenly, the barrel is rolling. Someone yells at you in the most vulgar greek to stop cramping his fucking style. Oh, right. You get up, out of the barrel and lock eyes with the also masturbating Diogenes. In his free hand he wields a plucked chicken like a flail. 9.5/10, behold, a boss battle.

The Trinity - The notion of disrupting a lecture still appeals, so you head down the road to the academy. Before you arrive, you are manhandled into an alley and out and up onto the acropolis. It seems all of Athens has assembled. As you are shoved into… a wrestling ring, the crowd begins to roar derision at you. From the opposite corner approaches a man they bill as the Macedonian Menace. Zeus alive, you already know that syllogistically he’s going to beat your ass. The crowd roars even louder for some reason, and a second man enters the ring. It’s Plato. He roars and cracks an amphora of oil over his head. The crowd goes ballistic. He screams something about the form of the ass whooping. You cower. As if that weren’t enough, a third much older and frailer man approaches, and the two assembled part deferentially. Hovering about a foot above the floor of the ring is Socrates. I was wrong, he says - but more as a thought in your head than a vocalisation, I know one thing. He pauses for effect. The crowd is still. You’re fucking dead. 30/10, good luck.

Anyway the point of my posts about Lord English and about troll gender so close together was that I’d been talking about it in the headcanon chat and I’ve come to the pretty solid conclusion that it’s English’s fault that trolls even have gender.

If you think about the fact that trolls logically should not have biological sex outside of the mother grub / troll dichotomy, then the idea that trolls developed a concept of gender identity seems absurd. But as it happens, a lot of Alternia is absurd; it’s a near-comical caricature of a fascist dictatorship, because it was engineered that way. So of course it follows that someone (read: the lizard man English and his puppet government) decided that trolls should be gendered.

And there’s precedent for it to be that way! English is from an incredibly binary race (a species one could almost say is composed entirely of binaries), and, unfortunately, as is well-known, his biggest policy is misogyny. Which is an easy policy to carry out when all you’re doing is trolling cherubs and humans, and messing with carapaces; but it’s difficult to do when you’re at the helm of a race who are, for all intents and purposes, non-binary. So naturally, he imposed a gender binary on them, completely arbitrarily.

And it just thematically fits; if there’s an fascist or imperialist ideal that you could possibly apply to a species to make it a dystopia, it’s been slapped onto Alternia; and a completely arbitrarily imposed gender binary is just… one of those colonialist things.

Trolls having binary genders is ridiculous because it’s just part of the endless set of ridiculous rules deliberately placed onto Alternia to make it ridiculously dystopian.

Alright guys buckle up because we’re gettin’ theorizin’

So, yesterday, @piligy and I were talking about some @therealjacksepticeye ego theories, and so much makes sense now!

Jack is data. Jack is who we see and who we interact with. Sean is the person we meet in real life. Sean sits in front of the camera and records, but that recording is just a ton of code, which is Jack. Jack is social media. Anything that is translated to code is Jack. Sean and Jack are pretty much the same person, but he has even said that when he’s recording, he’s Jack, but when he’s done recording, he’s Sean.

Okay, now that THAT is out of the way, we can get into the juicy bit.

Jack and Anti are the same. “One in the same”. Jack is the only one who can interact directly with us on social media. No other ego can do that, so how is Anti able to? Jack recently confirmed that Anti is dead, so Jane came up with this; Anti is a former Jack that died and got trapped inside of his world of social media.

Sean had the idea of Anti back in the October special, “Say Goodbye”. Sean used Jack to execute his idea. Sean made Jack kill himself for our entertainment. Jack obviously didn’t want to, but had no choice, because, after all, Sean is the puppet master. Jack’s vengeful spirit got trapped in this coding somehow (which I’ll go over in a bit so stay tuned). He came back to mock Sean in the video, thus the glitching. He had glitches in his videos in October, foreshadowing the video, meaning that Jack was already dead and coming back to haunting Sean for the stupid thing he made himself do, which was kill himself. The dead Jack is corrupted code, so when he went back to previous videos in October, hes corrupted code overtook the preexisting code, causing the glitches.

The fandom created Anti. “You all said my name”, “It’s all your fault!”, and “You all made this happen!” means WE created the idea of Anti, which Sean liked and took on. It’s our fault for creating the idea of him.
After Jack killed himself, Jack’s vengeful spirit was able to take over and tell us that us watching fueled Sean to make this video, which make him kill himself.  “You could have stopped me, but you just watched, AS THIS HAPPENED!!” Meaning “You could have stopped me from killing myself, but you WATCHED ME KILL MYSELF AGAINST MY WILL FOR YOUR ENTERTAINMENT!!”

After that video,”Jack” uploaded a video explaining it all. In that moment, a new Jack was made.  Now, Jack is the link between the real world and pure code. Sean records the video, the recording is Jack, Jack is uploaded as Sean’s coding, and that coding is spread across the world via social media, therefore, Jack is that bridge. Sean is the puppeteer. Puppets are controlled by the puppet master. All of the egos are his puppets. He wears costumes and acts out a character, which becomes “alive” once it is uploaded as coding, thus Schneep, Chase, Marvin, Jack, and Jackaboy Man. This new Jack is just another puppet Sean made with a new coding. “Impostor” They follow guidelines because they are puppets and can only do what they are told, but Anti doesn’t follow any of those guidelines. Why? Because he is not a puppet. He is the original Jack, who is dead. Jack was the puppet, Anti is the coding for the puppet. Now that the puppet is gone, Sean has no control over Anti. “There are no strings on me”. Sean knew he fucked up, but couldn’t do anything about it, so he tried to cover it up with an ‘explanation video’ because he knew Anti couldn’t be stopped.

Since Anti is the original Jack’s coding, he is stuck in the JSE channel and social media, not being able to leave, which explains why Sean said that Anti and Dark will never collab because they CAN’T collab. In Mark’s video Darkiplier vs Antisepticeye, we can see that Anti’s glitching is all wrong (which is from Mark’s laziness but shh), and he’s not wearing his gauges. He seems so out of character, because he IS out of character. It’s not really Anti. “Impostor”.

Soon after that “collab”, Anti reveals himself on his social media, angry at us. “Mocking me with your glitch bitch”, which is who we saw on Mark’s channel. Anti can’t touch Sean because of that barrier between real life, and coding, so Anti sticks around and tortures his egos as a way of revenge.

In Jack’s PAX East video, Anti says “You found someone new. Threw me aside! Found someone to replace me!” Meaning that Anti is the original Jack, and Sean replaced him as if nothing happened, and we’ve been watching this new Jack, as if nothing happened. “I’m not going anywhere!” Meaning, that he is trapped in Sean’s realm of social media, and will make Sean regret everything he has put him through.
Anti always makes the throat slitting motion every time he shows up. This is Anti reminding everyone of what Sean made him do. This is Anti reminding us of what we made Sean do to him.

In the Bio. Inc. Redemption video, Shneep says “You do not look the way you have always looked. You do not look like… yourself…” And looks at the camera. He later says “Jack! Are you okay? You’re not looking yourself” again. Schneep doesn’t realize that this Jack isn’t the real jack, but notices that something is wrong. He later goes onto say “Always with the mood swings. One time, he is one person, the next he is a completely different person.” Which is Sean breaking the forth wall about how all the egos are all variations of Jack.
As Schneep tries to save Jack, and fails, Anti appears more and more. Schneep gets more and more emotional and nervous, which allows Anti to start taking control.
I will not let you die! Not again! I will not lose you! I almost lost you once before!
When Schneep is saying “Not again”, he means that he tried to save Jack before in “Say Goodbye”, but could only fully save the puppet, but when trying to save the data, the code was already corrupted, and by Schneep trying to save that corrupted code, it trapped Anti, but he doesn’t realize it. THIS is how Anti got trapped. He thinks that he’s alive and well, because Sean moved on without a word about it.
You hear Anti say “die” here and in “Say Goodbye” with Jerold, which could mean “I’m already dead.”

In this video, something important happens. Schneep looks at the camera and yells “We need to save him! I need your help! SAVE HIM! SAVE JACKSE- ANTI
This is Anti telling us that the real Jacksepticeye is him, and he wants saving. He wants us to remember him.

He needs antidepressants. ANTI Depressants. We have to depress Anti- GET HIM OUT OF THERE!
This is Sean realizing what is going on and is using Schneep to cry out to us, the viewers, to stop him, because he can’t.
Anti has Scheep strangle himself on his cord. Anti is pissed at him for trapping him, and is trying to kill him for what he did. Anti is reminding him of the first time he died. When the Bio. Inc. Jack dies, all of those feelings come flooding back to him, and Anti is able to take over.

That Doctor thought he could save him, but he was MINE! He was WEAK! Just like the rest of them!” Means that Schneep thought he saved Jack, but the body was Anti’s. He says “him”, not “me”, because the body no longer belongs to him. “He (the body), was mine! He (the body) was weak! Just like the rest of them (the ego’s bodies).” Since he is pure code, he is nearly indestructible, and the bodies can’t handle him. They are just meat suits. That’s why he always calls them weak.

Who do you think you’ve been watching this whole time?” The fandom’s immediate thought was 'We’ve been watching Anti this whole time!’, but that’s not the case. Anti is telling us that we are not watching the original Jack, we are watching the impostor.

Just my puppets.” Here, Anti is mocking Sean, because Sean is the puppeteer, but Anti yells “I’M IN CONTROL!”  Meaning that Sean no longer has control over these egos, he does.
If you want him back so badly, why don’t YOU save him!?
Since Anti doesn’t associate himself with his old puppet anymore, he calls the body “him”. “If you want me back so badly, why don’t YOU save me!?”
He then talks to Sean directly by saying “As for YOU, this isn’t over”. We can gather that he is no longer talking to us, the viewer, because he put the emphasis on “you” the second time, as if he’s talking to someone else. If he’s not talking to us, the viewer, then the only other person he could be talking to is Sean.

But hey, that’s just a theory, A SEAN THEORY!

RAVENCLAW: “The Information Age offers much to mankind, and I would like to think that we will rise to the challenges it presents. But it is vital to remember that information - in the sense of raw data - is not knowledge, that knowledge is not wisdom, and that wisdom is not foresight. But information is the first essential step to all of these.” –Arthur C. Clarke



Alone together, they got nothing but time on their side.

Stalker’s burning hate is always brought down by his stoic partner’s company; and confiding and confident, Stalker asks for internal assistance, the prime swirling inside his systems to adjust and provide.

Explicit | No Archive Warnings Apply

Tags: Stalker (Warframe), Excalibur (Warframe), Mawframe, Non-canon Biology, Non-Human Genitalia, Combi-genitalia, Multiple Orgasms, Domestic Fluff, Intimate Partners, Tentacle Mouth, Oral, Cunnilingus, Handjob, Fellatio, Passionate

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Reconstructing life at its beginning, cell by cell

After 13 rapid divisions a fertilized fly egg consists of about 6,000 cells. They all look alike under the microscope. However, each cell of a Drosophila melanogaster embryo already knows by then whether it is destined to become a neuron or a muscle cell – or part of the gut, the head, or the tail. Now, Nikolaus Rajewsky’s and Robert Zinzen’s teams at the Berlin Institute of Medical Systems Biology (BIMSB) of the Max Delbrück Center for Molecular Medicine in the Helmholtz Association (MDC) have analyzed the unique gene expression profiles of thousands of single cells and reassembled the embryo from these data using a new spatial mapping algorithm. The result is a virtual fly embryo showing exactly which genes are active where at this point in time. “It is basically a transcriptomic blueprint of early development,” says Robert Zinzen, head of the Systems Biology of Neural Tissue Differentiation Lab. Their paper appears as a First Release in the online issue of Science.

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Paragraphs on Conceptual Art

By Sol LeWitt 

The editor has written me that he is in favor of avoiding “the notion that  the artist is a kind of ape that has to be explained by the civilized  critic”. This should be good news to both artists and apes. With this assurance I hope to justify his confidence. To use a baseball metaphor (one artist wanted to hit the ball out of the park, another to stay loose at the plate and hit the ball where it was pitched), I am grateful for the opportunity  to strike out for myself.

I will refer to the kind of art in which I am involved as conceptual art. In conceptual art the idea or concept is the most important aspect of the work.  When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman. It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual artist is out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to expressionist art is accustomed, that would deter the viewer from perceiving this art.

Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation  (such as logic vs. illogic). Some ideas are logical in conception and  illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of ideas the artist is free even to surprise himself. Ideas are discovered by intuition.  What the work of art looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Once given physical reality by the artist the work is open to the perception of al, including the artist. (I use the word perception to mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a subjective interpretation of both). The work of art can be perceived only after it is completed.

Art that is meant for the sensation of the eye primarily would be called perceptual rather than conceptual. This would include most optical, kinetic, light, and color art.

Since the function of conception and perception are contradictory (one pre-, the other post fact) the artist would mitigate his idea by applying subjective judgment to it. If the artist wishes to explore his idea thoroughly, then arbitrary or chance decisions would be kept to a minimum, while caprice, taste and others whimsies would be eliminated from the making of the art. The work does not necessarily have to be rejected if it does not look well. Sometimes what is initially thought to be awkward will eventually be visually pleasing.

To work with a plan that is preset is one way of avoiding subjectivity. It also obviates the necessity of designing each work in turn. The plan would design the work. Some plans would require millions of variations, and some a limited number, but both are finite. Other plans imply infinity. In each case, however, the artist would select the basic form and rules that would govern the solution of the problem. After that the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and the subjective as much as possible. This is the reason for using this method.

When an artist uses a multiple modular method he usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.

Conceptual art doesn’t really have much to do with mathematics, philosophy, or nay other mental discipline. The mathematics used by most artists is simple arithmetic or simple number systems. The philosophy of the work is implicit in the work and it is not an illustration of any system of philosophy.

It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.

Recently there has been much written about minimal art, but I have not discovered anyone who admits to doing this kind of thing. There are other art forms around called primary structures, reductive, ejective, cool, and mini-art. No artist I know will own up to any of these either.  Therefore I conclude that it is part of a secret language that art critics use when communicating with each other through the medium of art magazines. Mini-art is best because it reminds one of miniskirts and long-legged girls.  It must refer to very small works of art. This is a very good idea. Perhaps  “mini-art” shows could be sent around the country in matchboxes. Or maybe the mini-artist is a very small person; say less than five feet tall. If so, much good work will be found in the primary schools  (primary school primary structures).

If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product. All intervening steps –scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations– are of interest.  Those that show the thought process of the artist are sometimes more interesting than the final product.

Determining what size a piece should be is difficult. If an idea requires three dimensions then it would seem any size would do. The question would be what size is best. If the thing were made gigantic then the size alone would be impressive and the idea may be lost entirely. Again, if it is too small, it may become inconsequential. The height of the viewer may have some bearing on the work and also the size of the space into which it will be placed. The artist may wish to place objects higher than the eye level of the viewer, or lower. I think the piece must be large enough to give the viewer whatever information he needs to understand the work and placed in such a way that will facilitate this understanding. (Unless the idea is of impediment and requires difficulty of vision or access).

Space can be thought of as the cubic area occupied by a three-dimensional volume. Any volume would occupy space. It is air and cannot be seen. It is the interval between things that can be measured. The intervals and measurements can be important to a work of art. If certain distances are important they will be made obvious in the piece. If space is relatively unimportant it can be regularized and made equal (things placed equal distances apart) to mitigate any interest in interval. Regular space might also become a metric time element, a kind of regular beat or pulse. When the interval is kept regular whatever is irregular gains more importance.

Architecture and three-dimensional art are of completely opposite natures.  The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as art. When the viewer is dwarfed by the larger size of a piece this domination emphasizes the physical and emotive power of the form at the expense of losing the idea of the piece.

New materials are one of the great afflictions of contemporary art. Some artists confuse new materials with new ideas. There is nothing worse than seeing art that wallows in gaudy baubles. By and large most artists who are attracted to these materials are the ones who lack the stringency of mind that would enable them to use the materials well. It takes a good artist to use new materials and make them into a work of art. The danger is, I think, in making the physicality of the materials so important that it becomes the idea of the work (another kind of expressionism).

Three-dimensional art of any kind is a physical fact. The physicality is its most obvious and expressive content. Conceptual art is made to engage the mind of the viewer rather than his eye or emotions. The physicality of a three-dimensional object then becomes a contradiction to its non-emotive intent. Color, surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as an expressive device. The conceptual artist would want o ameliorate this emphasis on materiality as much as possible or to use it in a paradoxical way (to convert it into an idea). This kind of art, then, should be stated with the greatest economy of means. Any idea that is better stated in two dimensions should not be in three dimensions. Ideas may also be stated with numbers, photographs, or words or any way the artist chooses, the form being unimportant.

These paragraphs are not intended as categorical imperatives, but the ideas stated are as close as possible to my thinking at this time. These ideas are the result of my work as an artist and are subject to change as my experience changes. I have tried to state them with as much clarity as possible. If the statements I make are unclear it may mean the thinking is unclear. Even while writing these ideas there seemed to be obvious inconsistencies (which I have tried to correct, but others will probably slip by). I do not advocate a conceptual form of art for all artists. I have found that it has worked well for me while other ways have not. It is one way of making art; other ways suit other artists. Nor do I think all conceptual art merits the viewer’s attention.  Conceptual art is good only when the idea is good.

high school au (part two)

(read part one here)

Andrew has spent every Sunday since he got out of juvie either in church or at an Exy tournament. It’s not a future he would have predicted for himself two years ago.

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I have several things about next gen that I’m completely confused on. like why weren’t there more than just a couple of aliens in the everyday crew (honestly how hard would it have been for them to slap some Vulcan ears on a couple of extras?) but my biggest one is how come when Data got his emotion chip, why didn’t he fall in love with Geordi? Without the chip he already basically said that he liked Geordi more than any other human, so once getting the emotion chip they could’ve had him have a crush on Geordi, other than the fact that it doesn’t make sense to me why Data didn’t have a crush on Geordi, I would pay to see a flustered Data trying to ask Geordi out on a date

INJs & Extraverted Sensing

Carl Jung incorporates the three qualities of inferior Extraverted Sensing (obsessive focus on external data, overindulgence in sensual pleasures, and an adversarial attitude toward the outer world) in the following comment: 

What the introverted intuitive represses most of all is the sensation of the object, and this colors his whole unconscious. It gives rise to a compensatory extraverted sensation function of an archaic character. The unconscious personality can best be described as an extraverted sensation type of a rather low and primitive order. Instinctuality and intemperance are the hallmarks of this sensation, combined with an extraordinary dependence on sense-impressions. This compensates the rarefied air of the intuitive’s conscious attitude. 

Obsessive Focus on External Data

Effective dominant Extraverted Sensing types are open to the widest variety of information from the environment – the more the better for them. Fully experiencing the outside world is their greatest pleasure. For an INTJ or INFJ in the grip of inferior Extraverted Sensing, data from the outside world can seem overwhelming. Facts and details in the world demand the attention of the Introverted Intuitive type in the grip, so he or she obsesses about them. This may be experienced by both INTJs and INFJs as a state of intensity and drivenness. Their attempts to control the details in their environment are often expressed in such activities as feverishly cleaning the house, moving furniture, and organizing records and other materials. They may show an adamant concern about minute details and an unrelenting effort to control everything in their immediate vicinity.

An INFJ described her obsessiveness and withdrawal from her usual interests this way: “I stew about what’s going on. I can’t sit still and am restless. I am mentally fatigued and find myself compulsively putting things in order and trying to control everything around me.” An INTJ said that when he is in this state, he feels like a top spinning faster and faster. If he is working with tools and getting frustrated and angry, he has learned that it is best for him to stop or he will get hurt or break something. An INFJ described “obsessing about details.” He gave as an example: 

“When I’m using power tools that can cause injury, I will spend an inordinate amount of energy making sure that I’m not going to inadvertently hurt myself when I turn the thing on. I will triple-check to make sure my fingers are out of the way, etc. Usually I take in the world more globally and have less concern about details until I need them.“

“I’m more likely to have accidents,” said an INTJ. “I’m robotic, forget things, say things backwards;’ I’m obsessed with a thought and can’t get it out of my mind. I try to control situations and people and engage in strange behavior, like checking on things,” said an INTJ woman. And another INTJ woman said, “I can become obsessed by detail. I’m less able to function and make decisions – sort of paralyzed.”

An INFJ said, “I alphabetize my compact discs; or suddenly it’s time to do the thing I thought about doing two months ago. I drop everything and do it; or I fixate on smells and sounds.” “I organize or clean. I feel pressured and can’t think clearly,” reported another INFJ. “I nitpick about things in the environment. I bombard people verbally and obsess out loud.”

An INTJ recalled the following from his childhood and adolescence: 

“When my studies were not going too well, I would start to develop detailed tables of data, or drawings to support technical/science answers. These were frequently in too great detail, taking a lot of time and usually out of all proportion to the task and the length of the answers sought – or even irrelevant to the original questions.” 

Often the external input that becomes the object of obsession is something someone said or even failed to say. When the last client on an unusually busy day left without saying her usual “See you next week,” an INTJ therapist became convinced she had made a mistake during the psychotherapy session. She spent many hours going over the content of the session. She felt the only reason the client had not terminated therapy that day was politeness, so as not to hurt the therapist’s feelings.

A common focus, particularly for INTJ and INFJ women, can be an aspect of their physical appearance. They may become convinced that they have prominent skin blemishes, that others are noticing that they don’t dress very well, or that they look fat. In combination with the “overindulgence” manifestation described below, a powerful effect can occur.

Overindulgence in Sensual Pleasures

In effective dominant Extraverted Sensing types, the enjoyment of sensual pleasures is natural, spontaneous, and quite consistent with their focus on the reality of the immediate environment. In Introverted Intuitive types in the grip of inferior Extraverted Sensing, this quality takes the form of sensual excess rather than sensual pleasure. It is interesting that a number of INTJs and INFJs described themselves as becoming “self-centered” and “self-indulgent” when they are in the grip – a descriptor often projected onto well-functioning Extraverted Sensing types by INTJs and INFJs (and by other types as well).

Overdoing gratification of the senses is a commonly mentioned behavior for INTJs and INFJs in the grip of their inferior function. They may overeat or binge. They see themselves as obsessively doing harm to their bodies. A typical “tactic” is to overindulge compulsively and immediately thereafter – if not during the episode – berate themselves for their uncontrolled, shallow, destructive behavior. 

An INTJ described the experience this way: 

“There is a clear preliminary state where I am totally apart from the real world. I am not even an observer, and I can completely ignore anything real. It’s a nice fantasy, that’s all – just absorbing. But later I become excessively indulgent, getting totally immersed in physical experiences – eating, pulp fiction, TV. But I don’t enjoy it. It feels like a dangerous roller coaster, but I’m immobilized and can’t get off.” 

An INFJ said, “I have to get away from reality. I do too much of something – one thing. I eat more or stop eating; I shop for useless things.” Another said, “I eat too much, spend too much, watch TV or read excessively to escape. I’m late for everything.” An INTJ said her pattern is to overeat, fell guilty about it, wake up in the night and feel worse, get too little sleep, causing her to feel more vulnerable, and then eat more. Another INTJ feels bad about her overeating, but not guilty: “I hate it when people brag about how much they exercise!” she said.

Adversarial Attitude Toward the Outer World

Effective dominant Extraverted Sensing types approach the outer world with eager anticipation of all the wonderful experiences awaiting them. For introverted Intuitive types in the grip of inferior Extraverted Sensing, the immediate reality of the outer world spells difficulty and danger. They expect obstacles and problems to plague them as they move through a strange and potentially hostile environment.

Their hypersensitivity to potentially dangerous surroundings can promote uneasiness about people as well. “I can have negative forebodings and feel that people are against me,” said an INTJ. An INFJ said she “becomes suspicious. Usually I’m tolerant, curious, and compassionate, so ‘out of character’ for me means I’m unaccepting and frustrated with the world.”

An INTJ said, “I start tripping over things and feel out of control in the external world. I feel like I’m under a dark cloud. I get hung up on some false fact and distort it. I get stressed out about time – too many things and not enough time. I attack others with words and then feel guilty.” An INFJ described herself as “shutting down, communicating very little. I misplace things, especially keys and watches. I’m very harsh, critical, not diplomatic. I lose my temper, obsess about details, organize, reorganize, yet nothing gets done.”

Anticipating the worst can often elicit anger and blame in INTJs and INFJs. “I’m moody and gloomy, with sudden deep anger,” said an INTJ. An INFJ also describes experiencing deep anger: “I am emotionally aroused and am terribly critical of others. I accuse people of never helping me. I become dogmatic and blast people with facts. If no one is around to attack, I write a scathing letter to someone.” Another said, “I internally check off all the events that happened leading up to the 'conflict’ and then I verbalize this list with a sense that the impeccable logic of it will convince others I am right and I will be vindicated.”

The altered state of any inferior function is typically accompanied by a lessening of social controls and therefore more frequent expressions of anger. However, the character of the anger may be different for different types. For INTJs and INFJs the “cause” of distress is often one or more “objects” in the environment. The anger directed at either things or people may therefore be more focused, intense, and extreme than with other inferior functions. Introverted intuitive types may be unable to recognize alternative possibilities so that their perspective becomes extremely narrow. This tunnel vision and externalization of blame can produce ruthless results.

One INTJ said, “I get into verbal raving and am out of control. I regress emotionally and act childish. I feel anxious, exposed, childlike.” Another INTJ said, “If I bump my head on a cupboard, I get mad at the world for putting a cupboard there. Others think I’m cursing at myself – but it’s really at the inconsideration or stupidity of the cupboard being there.” An INFJ observed, “I am angry, unreasonable, totally irrational, closed-minded, and impatient. I feel vulnerable and then become angry at others for it. I can’t communicate with anyone. I am hard, callous, unfeeling, and I have not energy to be bothered with anyone else.”

anonymous asked:

I'm sorry you suffer from depression. I do too.. For over 12 years now.. I'm going to the doctor for the first time soon.. Scary. You make a lot of people very happy by posting on the internet. You give me hope that depression wont always define me.

Reading this literally brought tears to my eyes. Thank you so much for your bravery and your words. 

No your depression does NOT define you, even if it is a part of you. You are YOU, and you are so much more than that fleshy computer interface we call a brain. 

I mean, our brains our important, but they are an important tool. They are the interface that allows us to control our bodies and interact with the world around us. They are the processing unit that interprets data and sensory input, and enables us to make sense of that data. Much like the way that a computer allows us to receive and process data, and interact with others through the internet. 

But just like silicon computers, our soft fleshy computers don’t always function the way we want. When my computer tries to process too much data, it slows down and sometimes even crashes. Sometimes the trackpad on my laptop works great, and other times (for seemingly no reason) it doesn’t respond at all. There are keys that stick, and programs that run unnecessarily in the background. It is far from perfect. 

And my brain is the same way. Buttons stick, programs don’t run properly, processing power is spent on the wrong priorities, and input signals get distorted. 

Now whether a computer is technological or biological, it makes total sense to seek assistance and try to resolve any detrimental issues that are holding us back. And when we do seek help, IT IS NOT A REFLECTION OF WEAKNESS OR FAULT. 

Think about it. Imagine that your computer started running slow, or your sound card started skipping, or certain programs kept crashing. Now imagine that you decided to take that computer in to be looked at by a professional for some help. Is there shame in that? 

Now maybe there are some people who don’t understand. People who look at your computer and say, “It looks to me like everything is running fine!” Maybe those people are even trying to be supportive. But they don’t use your computer every single day. YOU DO. And it’s important to trust yourself. 

Brains are wonderful tools, but they are tools. And that tool does not define who you are any more than the computer or phone that you’re using to read this on. 

Admittedly, this response has gotten a lot longer than I intended, but I hope my message isn’t lost in all my rambling. In case it is, I’ll sum it up below… 

I am 100% glad that you are taking steps to seek help with your depression. I’m proud of you, and I hope it’s the beginning of some healthy changes. You are wonderful, and you are SO MUCH more than your depression and your symptoms. 

And I’m also really glad that you sent me this message. I try really hard to be honest about my own depression (and other brain IT issues) in the hopes that others might feel they don’t need to hide theirs either. I’m thrilled to know that for you, it helps. 

Form of the Inferior Functions

Inferior Fi:

Fi-dominant Types
• Inner harmony
• Economy of emotional expression
• Acceptance of feeling as non-logical

Fi-inferior Types
• Hypersensitivity to inner states
• Outbursts of emotion
• Fear of feeling

Inferior Ti:

Ti-dominant Types
• Impersonal criticism
• Logical analysis
• Search for accuracy and truth

Ti-inferior Types
• Excessive criticism
• Convoluted logic
• Compulsive search for truth

Inferior Si:

Si-dominant Types
• Solitude and reflection
• Attention to facts and details
• Awareness of internal experience

Si-inferior Types
• Withdrawal and depression
• Obsessiveness
• Focus on the body

Inferior Ni:

Ni-dominant Types
• Intellectual clarity
• Accurate interpretation of perceptions
• Visionary insight

Ni-inferior Types
• Internal confusion
• Inappropriate attribution of meaning
• Grandiose vision

Inferior Fe:

Fe-dominant Types
• Comfortable inattention to logic
• Sensitivity to others’ welfare
• Sharing of emotions

Fe-inferior Types
• Logic emphasized to an extreme
• Hypersensitivity to relationships
• Emotionalism

Inferior Te:

Te-dominant Types
• Competence
• Truth and accuracy
• Decisive action

Te-inferior Types
• Judgments of incompetence
• Aggressive criticism
• Precipitous action

Inferior Ne:

Ne-dominant Types
• Comfortable inattention to sense data
• Flexibility, adaptability, risk taking
• Optimism about future possibilities

Ne-inferior Types
• Loss of control over facts and details
• Impulsiveness
• Catastrophizing

Inferior Se:

Se-dominant Types
• Focus on external data
• Seeking sensual/aesthetic pleasure
• Delight in the outer world

Se-inferior Types
• Obsessive focus on external data
• Overindulgence in sensual pleasure
• Adversarial attitude toward the outer world

anonymous asked:

13 w/ Data :в

“I could kiss you right now!”

It shouldn’t have surprised you that even after hours of trying to pry the doors open, Data would have no problem doing. When the doors were pushed open, revealing the android, you stood up with a giant sense of relief. “Data.”

He nodded at his name, walking into the ramshackle room. “I am glad to see you are uninjured.” Data replied. “This section of the ship was particularly damaged in the attack. It took quite some time to reach you-”

Data was cut off when you nearly tackled him in a hug. He blinked a few times in confusion before meekly hugging you in return. And then you pulled away, grinning. “I’m so glad to see your face. I thought everyone forgot about me.” You said before pulling him back for another hug. “I could kiss you right now!”

Your statement made Data pause. “I am not sure that an act of affection would be entirely appropriate right now, Y/N.”

Drabbles are closed

I have a truly unreasonable amount of Sam Carter feelings and they are mostly incomprehensible.

Okay, so this is like a little side thing, and I’ve always been bothered by this in Undertale fanfics

There are a couple of substitute exclamations often used in the place of “Oh my God” in the Undertale fandom. Because, you know, we can’t assume that the concept of God carried over to the Underground, since we don’t really see a lot of evidence of a religious culture in game

One common one “Stars” makes sense. Given the background data on the Wishing Room, it makes sense that stars would acquire an almost religious significance to the monsters. Wishing upon false stars seems to be something of a ritual, and it has that added mystery of the unknown since most monsters have likely never seen the stars.

But the other…….”Asgore”. I see this a lot. “Oh my Asgore”, “By Asgore” etc etc. (or “Oh my Toriel” in the Swap verses).

Like I guess teeeechnically this could work, given that “by the king!” isn’t uncommon in actual cultures, but to me this feels like a 16th century peasant exclaiming “Oh my Henry!”

And it wouldn’t bother me so much if we didn’t already have a prime figure for this. “The Angel”. This prophecy seems like pretty common knowledge to most monsters, and I don’t know, if just feels a little less awkward to me to say “By the Angel” than to swear by a guy who you probably had tea with at some point this week.Given the limited nature of space in the Underground I don’t think most monsters have the distant relationship with their monarch that most peasants would. 

Anyways, just my two cents

anonymous asked:

Do you mind typing Zange Natsume (Inu x Boku SS)? If you don't know him, it's ok too. (Hint: He could be Break's twin brother, minus being such a sweet tooth strength of demonic powers and acts).

(At first glance, Zange seems like a stereotypical ENTP but upon rereading the manga and all information on him, I’ve come to the conclusion of a depressed ENFP. Note: ENTP/ENFP are REALLY similar if observed at a shallow level.
Zange is basically Jaeha and Willy Wonka who are also ENFPs.
The average ENTP is a tad more grounded than Zange unless they’re an ENFP type 6. Undertaker and Xerxes Break might be odd from society, but they’re much more serious than a typical ENFP if you pay close attention. )

Inu x Boku SS - Zange Natsume [ENFP]

The Inspirer: ENFPs are warm, enthusiastic people, typically very bright and full of potential. They live in the world of possibilities, and can become very passionate and excited about things. Their enthusiasm lends them the ability to inspire and motivate others, more so than we see in other types. They can talk their way in or out of anything. They love life, seeing it as a special gift, and strive to make the most out of it.

Originally posted by yakumocchi

Ne (Extraverted Intuition):
-Creative and flexible
-Mind is erratic and chaotic full of possibilities
-Broad, diverse and adaptive 

Zange is a flirt and does not care to stick with only one person. He makes suggestive and lewd remarks to everyone not caring about the consequences. He likes acting odd and out of the norm. TV Tropes call him the bunny ears’ lawyer and the manic pixie dream guy (the title of an ENFP.) 
Hell is happening around him and he often gets cynical (inf Si) because of his past, the truth about the future of the main characters that haunts him but he still chooses to enjoy life and remain optimistic.

His powers are just as strange as he is. His minds can think up of different sides to each character in the show and likes to pinpoint them out abruptly or during inappropriate times to the chagrin of said characters. 

In the end, Zange never gets set up with a love interest and by the time the manga ends, he said that he still has much of the world he wants to explore and cannot stay in one place.

Fi (Introverted Feeling):
-Have their own rules and identity on how they live their life
-Feel things deeply underneath the surface

Beneath the comic relief exterior, Zange is pretty emotional and does a good job of hiding it. He still mourns and cries over Kagerou’s death even though he knew it was fake.
He is more sensitive than he wants to admit.
He never reveals his deep feelings to anyone aside from a selected few he really trusts. It doesn’t make him comfortable. 
He is jaded and cynical about the world and would sometimes voice his discontent, but he still tries to be optimistic so that his authentic life won’t go to waste.

He likes being set apart from the cast with the way he dresses, his bunny ears and his flamboyant and otherworldly personality. 

Originally posted by yakumocchi

Te (Extraverted Thinking):
-Likes having control of external environment
-Efficient but can be vague due to tertiary function
-Executes plans thoroughly

Although he doesn’t see the need to use his tertiary Te much,
Zange can get pretty creatively scheming and exploit those around him as a means to an end, but they are mostly harmless and is usually in favor of the person being exploited. 

He enjoys being in ‘control’ of Ririchiyo and others through slight intimidation although it is not anything malicious. 

When he was injured and coughed out blood, he immediately covered it up calling it ‘tomato sauce’ not wanting to worry Watanuki and disrupt anything else. He gets embarrassed when his good intentions are discovered by others. 

He soon travels with Kagerou to make sense of the world and environment around him. 

Si (Introverted Sensing): 
-Collects data from past experiences
-Values nostalgia 
-Inferior function can hinder or tarnish use of Ne/Fi

Zange likes to keep the information he gathers a secret.
He is comfortable with using certain data he collects to use people to achieve what he wants. 

The past of his loved one’s death still repeatedly haunts him giving him episodes of brooding and moodswings. 
It also makes his Ne darker and his Fi erratic. 

To appease his comfort, joy of life and sense of freedom, he sets out to travel with Kagerou. 

~Miss ENFP

MBTI Functions: Short Descriptions

Extraverted Sensing (Se): Takes in data from it’s surroundings and makes raw, ‘face value’ observations.

Introverted Sensing (Si):  Takes in data and considers what concrete, detailed knowledge they already know of, moderately updating and adding to it’s storage of knowledge.

Extraverted Intuition (Ne): Takes in data and comes up with ‘outside the box’ scenarios and ideas by expanding away from the original idea.

Introverted Intuition (Ni): Takes in data, recognizes patterns and relates/connects things to the big picture, helping it make predictions.

Extraverted Thinking (Te): Takes objective data and considers what would be the most effective, efficient way to use the currently established system to achieve goals.

Introverted Thinking (Ti): Takes objective data and considers all possible (logical) factors and errors in order to perfect any system, which is it’s overall goal.

Extraverted Feeling (Fe): Takes subjective (social) data (people’s emotions, people’s expectations, etc etc) and considers what would be the most appropriate for the situation at hand.

Introverted Feeling (Fi): Takes subjective data and considers how they feel about this data and if the data aligns with their morals or not.

You create many of your own difficulties, if not all of them. This is true for all individuals. The inner psychological state is projected outward, gaining physical reality. This holds true regardless of the nature of that inner psychological state. The way that this is done has been discussed often and is on record in the material. I suggest you read it. The rules apply to everyone. You can use this for your own benefit and change your conditions, once you realize what the rules are.

You cannot escape your own attitudes, for they will form the nature of what you see. Quite literally, you see what you want to see, and you see your own thoughts, your own emotional attitudes, materialized in physical form. If changes are to occur, they must be physical and psychic changes. These will be reflected in your physical environment. Negative, distrustful, fearful, or degrading attitudes toward anyone work against the self and against the individuals involved. Now if you would change an individual, change your thoughts toward him, and changes will appear in the sense data world.

Now: you must understand, for one thing, that telepathy operates constantly at a subconscious level. If you continually expect any individual to behave in a particular manner, then you are constantly sending him telepathic suggestions that he will do so. Every individual reacts to suggestion. According then to the specific conditions existing at the time, such an individual will to some extent or another act according the mass suggestions he has received.

These mass suggestions include not only those given to him by others, both verbally and telepathically, but also those suggestions that he has given to himself while in the waking or dream states.

If individual A is in a period of despondency, then this is because he has already become prey to negative suggestions of his own and others. If now you see him and think that he looks miserable or that he is an incurable drunk – then indeed these suggestions are picked up by him subconsciously though you have not spoken a word, and in his already weakened condition, they will be accepted and acted upon.

If, on the other hand, thinking of him under the same conditions, you stop yourself and say gently to yourself: he will begin to feel better now-or his drinking is temporary-and there is indeed hope here, then you have given him aid, for the suggestions will at least represent some small telepathic ammunition to fight off the war of despondency.

—  Jane Roberts - The early sessions, Book 8