“On April 21, 1967, the 100 millionth GM vehicle rolled off the line at the plant in Janesville — a blue two-door Caprice. There was a big ceremony, speeches; the lieutenant governor even showed up.
“Three days later, another car rolled off that same line. No one gave two craps about her. But they should have, because this 1967 Chevrolet Impala would turn out to be the most important car — no, the most important object — in pretty much the whole universe.”
On April 21st, 1967, the Hundred millionth GM vehicle rolled off the line at the plant in Janesville. Three days later, another car rolled off that same line. No one gave two craps about her, but they should’ve. Because this 1967 Chevrolet Impala would turn out to be the most important car…no, the most important object in pretty much the whole universe.
How important is it to make something, and particularly to finish it, in your experience as a game gwompus? In comparison to starting projects / having ideas but not being able to complete something?
this is more important than anything else. people think of art as “ideas” but what they really mean is “the miracle of editing all the ideas in the universe down to the razor extrusion of a discrete object”.
most media isn’t good, it’s just finished. that’s what people pay for.
regarding your analysis of C&L: you mentioned that you don't connect with it as much because it is a more general account of grief, while ACL@M has it's own explicit narrative. comparing Twin Fantasy and Teens of Denial, could you say that your own art has moved in the direction of C&L? TF has a very clear narrative that is relatable in a much deeper way than ToD because it tells a specific, personal story. i love both albums, but your analysis aligns with my feelings about your project.
I’ve seen the term “relatability” thrown around a lot in conversations where people compare, usually in a disappointed tone of voice, ToD with TF. I can’t say I really know what it means. I wrote Denial in the same way that I’ve written every album I’ve made since Twin Fantasy: I’ve started with personal experiences, and attempted to tie them together with more universal sentiments, to create a work with a coherent conceptual arc that stands as something larger than myself. I’ve never written an album like ACL@M. Twin Fantasy was every bit an attempt to create something universal as Denial was; I specifically remember writing Bodys to be an anthem, something people could sing along to with no knowledge of me or my “story”. This was mixed with more diaristic elements elsewhere, obviously, but only inasmuch as it serviced the record as an independent object for it to be diaristic. I’ve never felt that the most important thing on a record is to “tell my story”. That’s not what art is about to me; that’s not how the art that is important to me has affected me. I think every record I’ve made does tell a story, but it is only mine in the sense that my name is on the credits.
Denial is created in the exact same manner, to the exact same proposed end; it’s a diaristic work of art. Songs like “Drugs With Friends” are specific and personal in a way that I shouldn’t really have to point out. The album tells a story just as TF does, propelled by its musical and conceptual structure, and by repeated motifs and images. The mirroring of song titles, the splitting of sides into “Hometown Hero” and “Cosmic Hero”, the recurring image of being “split in two” - these are not random upcroppings any more than the images and patterns on Twin Fantasy are random. I structured them in a very specific way, to create a specific unfolding of meaning.
The real difference between these two albums is content. Twin Fantasy is a romance; Teens of Denial is a bildungsroman. Most people will prefer a romance over a bildungsroman, as it speaks to a more essential aspect of humanity. I can’t protest this, and I feel the same way - I think romance is inherently a stronger genre, being (presumably) about two people instead of one. Denial is by no means one of my favorite records. I wrote it during a period in my life where I was not feeling a lot of love. Its tone and content reflect that. I made it because that’s what I do - records have always marked the various phases of my life, and I needed to get out of this one, so I needed to make a record. I think it is what it is, and it’s good for what it is, and other people without a lot of love in their lives might relate to it more strongly than anything else I could have created. If you can’t relate, then consider yourself lucky, and consider checking out one of my many other albums on other subjects.
I think, though, that the reason that a vague term like “relatability” has been selected as appropriate in driving this discourse is that the discourse is based more on how the album was promoted than what the album actually is, when you sit down and listen to it. When we’d wrapped up the record and I was discussing with our publicist what the best approach would be for promoting it, I sent her a track-by-track breakdown of the album, explaining the overarching narrative, and how each song fit in context. Ultimately, we decided to leave this aspect of the record unspoken in promotional material, and focus instead on the strength of the songs as individual works. Thus, the narrative that subsequently built up around the album was about its songs, their accessibility, their potential as works of mass consumption. I had assumed, perhaps blithely, that people who preferred concept records to pop songs, who sought meaning through the building of ideas through a record rather than an immediate emotional release provided by an explicit turn of phrase, would encounter the album on their own time, listen to it while reading the lyrics, and discover that it did, in fact, function on this level as well. I underestimated the power of promotional narrative to influence people’s beliefs about what a thing actually is. This is an idea that has always haunted me, because I don’t speak through press releases, I speak through my art. Most artists do. A press release is something designed to get people to look at art - it should, under no circumstances, be able to replace the art, to override its meaning through memetic repetition. (This is also a large part of what bothered me with C&L; I was tired of seeing people trying to interpret lines like “You checked your texts while I masturbated” under an unshakeable assumption that it must be about his mother’s death.) You must not allow the world to convince you to consume art like this. Art so rarely falls into your lap unannounced, but you must make the effort to pretend as such each time you enter a work; forget what you know about the artist, what you’ve heard other people say about the work, and try to experience it as direct communication. That is the only way you will be able to understand the art as it was intended to be understood.
The Impala. The fucking Impala was parked in my carport. My carport. The wide strip of cracked gray cement that separated my pale blue house from the one to its left. The place where my husband parked our used Honda Minivan every night. Dean Winchester’s beloved 1967 Chevy Impala was parked in my carport. I nearly squealed as I followed the boys down my front steps towards it. The rain glistened on the hood, illuminated by the streetlights, and my heart skipped wildly in my chest.
I ran my fingers gently over the hood. It was real, solid, shiny. “Baby,” I whispered in quiet reverence. This was the Holy Grail, the heart of the show, their home away from home, the most important object in the history of the universe. The Impala.
“She’s beautiful, isn’t she?” Dean stood next to me, his eyes sweeping over the car’s frame just as lovingly as mine did.
“Hop in,” he said, pulling open the back door for me. A moment of pure joy and panic swept over me, but I did just as he said. I hopped right in.
NASA’s Hubble Space Telescope captured two festive-looking nebulas, situated so as to appear as one. They reside in the Small Magellanic Cloud, a dwarf galaxy that is a satellite of our Milky Way galaxy. Intense radiation from the brilliant central stars is heating hydrogen in each of the nebulas, causing them to glow red.
The nebulas, together, are called NGC 248. They were discovered in 1834 by the astronomer Sir John Herschel. NGC 248 is about 60 light-years long and 20 light-years wide. It is among a number of glowing hydrogen nebulas in the dwarf satellite galaxy, which is located approximately 200,000 light-years away in the southern constellation Tucana.
The image is part of a study called Small Magellanic Cloud Investigation of Dust and Gas Evolution (SMIDGE). Astronomers are using Hubble to probe the Milky Way satellite to understand how dust is different in galaxies that have a far lower supply of heavy elements needed to create dust. The Small Magellanic Cloud has between a fifth and a tenth of the amount of heavy elements that the Milky Way does. Because it is so close, astronomers can study its dust in great detail, and learn about what dust was like earlier in the history of the universe. “It is important for understanding the history of our own galaxy, too,” explained the study’s principal investigator, Dr. Karin Sandstrom of the University of California, San Diego. Most of the star formation happened earlier in the universe, at a time where there was a much lower percentage of heavy elements than there is now. “Dust is a really critical part of how a galaxy works, how it forms stars,” said Sandstrom.
The data used in this image were taken with Hubble’s Advanced Camera for Surveys in September 2015.
Object Names: NGC 248, SMC N13
Image Type: Astronomical
Credit: NASA, ESA, STScI, K. Sandstrom (University of California, San Diego), and the SMIDGE team
WHY DO ANTIS come up with a mediocre argument why xxx ship is bad, but when you bring down that argument with literal facts, they either come up with a 'creative' way to tell me to fuck off or just use their oppression card? Speaking from experience...
Hah, yeah, this happens to me a lot too - after a bit of back & forth, I get blocked or otherwise.
The core issue is that antis have already decided the following:
their feelings* are the most important truth
anyone who disagrees with them is wrong about everything
facts that don’t line up with their feelings must be lies
And from these principles extends all their behavior.
They’re right: antis are right because they have to be right. being wrong is impossible for them, because to be an anti is to be right.
this sounds sarcastic, but it’s not. antis operate on black and white principles: if someone is right, they are 100% right: if they are wrong even once, they are 100% wrong for the rest of eternity, and about literally everything. Therefore, to be an anti, one must always be right, or they doom themselves to being forever wrong.
This absolute rightness is maintained by considering their own feelings to be more important than the feelings or thoughts of anyone else.
their feelings are the most important truth: like being a shipper for a particular ship, being an anti-shipper of a particular ship is a personal opinion reached by a combination of feelings, experiences, and the individual’s read on canon. Antis who insist that nobody is allowed to ship something they don’t like have decided that their personal feelings about that ship has the same value as a universal truth. Because they dislike a ship, that ship is objectively bad. And if you’re looking for reasons for something to be objectively bad you can usually find them, because most things aren’t absolutely flawless.
In general I don’t think this is a conscious process; it looks more like ‘I don’t really like this ship. There must be a reason I don’t like this ship.’ From this feeling of dislike flows all other reasoning.
anyone who disagrees with them is wrong about everything: the way black and white morality works is: if you do one thing wrong once, you are forever tarnished and all your future actions will be tarnished by your error. You must never make a mistake to remain wholesome and good.
Antis consider themselves to be good, so they must never make a mistake. by the same principle, anyone who doesn’t agree with them (in particular on shipping) has done something bad, so their words can never hold value again.
This kind of thinking allows antis to dismiss anything their opponents say as lies, nonsense, or even malicious attempts to hurt them.
Facts that don’t line up with their feelings must be lies: their feelings are always correct because antis don’t make mistakes. So if a fact doesn’t line up with their understanding of the world, it must be false, no matter how well-sourced or solidly backed the fact itself may be.**
All facts presented to them are checked against their personal experiences and feelings, and if the fact is found to not match, it is discarded.
They also consider the source. If the person presenting the information is someone they consider to be ‘bad’ - such as a person who ships things they don’t approve of - then the information itself is worthless.
This is why antis use their own feelings as a trump card in an argument, then flounce: you may present them with good information, and if they don’t like what you’ve said they trump it with ‘well it doesn’t match what I think/you are problematic, so you’re still wrong.’
You thought you were having a debate about reality, but actually you were debating with their feelings. Understandably, they can’t help taking it quite personally.
Everything I’ve described above are things everyone does to some degree. Antishippers just tend to take it to the extreme more than others.
*You specifically mentioned ‘us[ing] their oppression card’, not their feelings, but the ‘oppression card’ is how tumblr specifically determines how important your feelings are. If you are white, straight, and cis, your feelings don’t matter at all; if you experience oppression on a given axis, your feelings increase in value. (Everywhere except tumblr this scale is exactly reversed. Also tumblr pays lip service to this treatment but it doesn’t mean oppressed people actually get better treatment or increased consideration on tumblr.)
**sometimes ‘facts’ aren’t as true as we think because the source that processed the raw data to get to the fact was biased. Assuming that all facts are actually biased lies is how you get to ‘the most important thing is how I feel b/c it’s the only thing I can rely on to be trustworthy’ thinking.
I’ve had this thought, for a while now, that Mabel got desensitized to cult-bashing (with all the blood, and gore, and cracked skulls) awfully fast, and it’s lead me to this head-canon:
Dipper’s object form is not initially a star. He never realizes this in the main TAU-verse because the change happens before he ever uses it. You see, Dipper measures his humanity against Mabel. And, unknowingly, whenever he loses pieces of himself he patches the holes with bits of her. This is why she acclimates so quickly to demonic levels of violence; she’s missing pieces too. Her holes are smaller - she’s still human, so they heal. Maybe sometimes she notices, just a little. When Dipper seems to act more and more like her, and she’s ok with things she’s not sure she should be. But she doesn’t mind. If it’s true, then she’s simply found a way to share her brother’s burden. Take some of the load from his shoulders. And she knows he’d be horrified if he ever suspected, so she never tells him.
In the Drift AU though, it’s another story. Here Dipper ends up stuck in object form rather quickly, after yet another desperate attempt to contact Mabel. Here Dipper is a yellow pine tree (Yellow because of Bill’s energy. Yellow because pine needles turn yellow when they die), and he HATESit. Not only does it make him look like Bill, it makes him what Bill called him. He can’t help but wonder if Bill somehow knew. (Did he do it on purpose? Am I still falling into his plans?)
In the bad end, this is the first step down the slope. His fractured humanity hates this form because of Bill, his newfound demonhood hates this form because it means he’s weak, and he does everything he can to never get stuck in it again. He no longer gathers power purely in hope of getting home, but also to avoid weakness. It is the first time he gives in to his demon side. And the worst part is he never recognizes it.
In the good end, he catches that thought and nips it in the bud. The ONLY reason he will gather power is to see Mabel. If he’s stuck in this form because he’s too weak to maintain another, that only means that it conserves his energy. So Dipper uses his object form as often as possible. Not during summons. The rush of power from a sacrifice is enough to push him out of it, and even if it does conserve energy he still doesn’t want anyone to see him like that. But when he’s alone in the mindscape, and no one can see him? He’s a pine tree. He hates every second of it, but if it gets him back to Mabel even one minute faster it’s worth it. And the only reason he hates it (the only reason he lets himself hate it) is because it reminds him of Bill. It reminds him of what he’s fighting for. He hates it, but it helps him stay focused. Ironically, looking less human is the very thing that lets him stay human.
In the main TAU-verse, Alcor’s object form is a star because Alcor is a star. The pine tree was Dipper, and Alcor is not quite Dipper any more. It still reminds him of Bill, and he will always hate it. But it also reminds him of Mabel, so he doesn’t mind using it on occasion.
In the good end of Drift, Alcor’s object form stubbornly remains a pine tree, even after he takes the name Alcor and uses the stars as his theme, because he has stubbornly clung to his humanity - and has arguably had far more success doing it alone than he would have had with Mabel. After Mabel’s death he changes his form to a star in her honor. And despite still being yellow and pointy, he never truly hates his object form again. Because it will always remind him more of Mable than of Bill. (In this universe, no one ever manages to bind Alcor with his symbol. Because no one realizes that the star is not his symbol. Every other demon’s most important symbol, the one central to their circle, is their own. But Alcor’s star is, has always been, Mizar’s symbol. At his heart, Alcor is still the pine tree.)
In the bad end of Drift, no one knows what Alcor’s object form is. No one but he has ever seen it, and he has only ever used it once.
“On April 21st, 1967, the 100,000,000 GM vehicle rolled off the line at the plant in Janesville. A blue, 2 door Caprisse. There was a big ceremony, speeches, Lt. Governor even showed up. Three days later, another car rolled off that same line. No one gave two craps about her, but they should have.
Because this 1967 Chevrolet Impala would turn out to be the most important car…. No, the most important object In pretty much the whole universe.”
“No one gave two craps about her. But they should have, because this 1967 Chevrolet Impala would turn out to be the most important car – no, the most important object– in pretty much the whole universe. ”
HAPPY 50TH BIRTHDAY, BABY.
Hey guys! This is Peng’s first post in the college prep advice series. I felt obligated to write this one as my first because, well, I’m a freshly pressed senior who was recently admitted to my dream school via early decision. And I feel that I was accepted mostly for my essay, so hey, why not help other students out as well? So without further ado, here is my advice on how to write the best college essay you can…
(NOTE: I am talking about the “Why __” essays. Other prompts may be too various for me to cover in one essay. Ask me and I might help you, though!)
INTRODUCTION: Why is it important?
College essays are often noted as the largest or one of the most reflective parts of a student’s college application (to an American university). People often say that while the numbers (the GPA, the SAT scores, etc.) reflect the “objective” sides of the prospective student, the “subjective” side is best represented through the student’s own writing. Through short answers and essays, you as a student must prove yourself not just a statistical fit but also a personality fitwith the college.
In this aspect, it is first most important, before even starting your essay or even adding that college to your Common App list, is to think whether you are theright fit for the college. I’m not talking about stats–I’m talking about the studying environment, the location (city? countryside? suburban?), the demographics (are you overwhelmed when there is a very low percentage of your own race/ethnicity, or does it not matter?), offered majors, etc. Don’t just think about whether they have a good pre-med track, think about whether there are other majors or subjects you can switch to in the case that you might change your mind in college (this is important because many, many students change their minds. After all, a whole bunch can happen when you’re in a totally new environment with new people and a whole new level of learning).
PART 1: Play it smart. It’s a game.
Let’s face it–the college app process is a crapshoot. Don’t take it too seriously - they’re not judging you as a human being (in all honesty–it’s up to no one to judge you!). College is a businessand they want to buy good products. So your job is to understand the motto of the “company” (the college’s motto) and then be able to present yourself as the product they want. I mean, think about it: the decision making process is nothing more than a group of people judging four years of your life (through a few numbers and a few written works) in order to see whether you’ll thrive in X college and make X college proud. It’s a human-run process that is prone to, well, human-like errors. So don’t get too tied up emotionally in the college app process (I’ll make a better post on this later). It’s okay to be stressed, but try not to go to the point where you think your life will be over if you don’t get in. That’s not a healthy attitude to maintain in the long run (even if you do get in). You need to detach yourself emotionally, evaluate the situation with only logic (what can I do to get in? - while also knowing it’s totally okay if you don’t), and then carry through with your plan.
Therefore, once you are sure that you want to apply to this college, it is then important to understand the college. By understanding, I’m not talking about knowing its history; I’m talking about knowing what the admissions officers (henceforth called AOs) want.
Some colleges like the academically rigorous. Others like the academically passionate. Others still like those who aren’t top-notch “book smart” but have an undying curiosity in all realms of knowledge. Others yet search for those who can balance a tight schedule. Some might like those who are giving and compassionate and are willing to use their talents to help those in need. Whatever X college wants or claims to be their “pride,” youmust show them through your essay. You have to give them what they want in order for them to want you.
“Hey babe” Lydia greets her boyfriend and kisses him on the cheek.
“Hey, are you excited for today” Stiles asks his beautiful girlfriend Lydia.
“No stiles i could care less if our favorite author is here for a book signing” Lydia replies
“I thought sarcasm was my thing” Stiles laughed
Lydia rolled her eyes and than smiled. “Stiles of course i am very excited, it is chuck. It is the supernatural books” Lydia exclaims and stiles chucked at his cute girlfriend.
“Well then hurry up and get ready so we can have lunch before we go” Stiles pushes Lydia in the direction of her clothes and shoes. Lydia gets changed and touches up her makeup for the book signing.
They both are thinking to them self how amazing it’s going to be to meet chuck. Chuck will be in the Harvard University Library doing the event. Yep Harvard, where they are devoted to excellence in teaching, learning, and research, and to developing leaders in many disciplines who make a difference globally. This is where Stiles and Lydia have been attending and are in their first year.
Lydia and Stiles make there way to the lunch area holding hands.
“I will have a garden salad please” Lydia orders
“And i will have a cheese burger with curly fires” Stiles smiled and spoke to the lady at the counter. The lady nods and says “Okay, That will be fourteen dollars and thirty five cents”. Stiles gives the lady the money and a small tip. They wait for their orders and once its done find a small table to sit at together.
“You have a serious issue with curly fries stiles” Lydia said
“Waaat” Stiles says with a mouth full of fries
“Curly fries are the best kind of fries” Stiles declares
Stiles and Lydia finish their lunch and walk over to the library where they can not wait to see chuck.
Lydia and Stiles brought their favorite book, Swan Song. They were lucky to have showed up when they did at that exact moment, because Chuck was just starting to read the beginning of the prologue.
“On April 21 1967 the 100 millionth GM vehicle rolled off the line at the plant in janesville. A blue two-door caprice. There was a big ceremony, speeches, the lieutenant governor even showed up. Three days later, another car rolled off that same line. No one gave two craps about her, but they should have. Because this 1967 Chevrolet Impala would turn out to be the most important car, in fact the most important object in pretty much the whole universe.” Chuck read and stops at that point.
There is so many people here. Though Stiles and Lydia sure can believe it, it is the best book series of all time.
The young couple went to wait in line to get their copies of Swan Song signed. Stiles was jumping with joy while Lydia was calm on the outside but surely freaking out on the inside. After a bit of waiting it was Lydia and Stiles turn coming up. To both their surprise there was two other people sitting with Chuck signing books and talking to fans. As they get closer they saw the other people’s name tags. Sam Winchester, Then there was the girl. She had sandy blonde light brown hair and green eye’s. Her name Y/N. Stiles and Lydia approach the table.
“Hi who should i make this out to” Chuck asked with a smile
“You can make it out to Lydia Martin, that would be me” Lydia smiles
“And mine to Stiles” Stiles spoke
Chuck gave a weird look to Stiles “What’s a Stiles” He asked. Lydia chuckled.
“It’s a person, me, i’m Stiles” Stiles replied to Chuck
Chuck nodded and signed the book. “Would you like are special guests to sign your books as well” Chuck asked while Sam and Y/N smiled at them.
“Hello, I’m Sam Winchester” Sam greeted
“Like Sam and Y/N from the books” Stiles looked at You and Sam confused. You both nod and smile.
“Is this not fictional writing” Lydia asked with her eyes wide
Lydia looked around seeing others freaking out about Y/N and Sam being real. Who wouldn’t freak out in a good way once they find out the characters of their favorite books are real.
“Yeah we are real, flesh and bone” You say while slapping Sams cheek lightly as if that proves your real. Sam gives you his famous Bitch Face.
“So would you like us to sign your books” Sam asked politely
“Yes that would be fantastic” Lydia smiled answering
“I actually think i’m going to pass out” Stiles dramatically says while holding onto the table.
You and Sam signed both books.
“Hey where’s a good place for a slice of pie around here” You ask looking at Chuck and Sam
“The cafe by the lunch area has amazing apple pie” Stiles butts in
“Good, let’s get me some pie” You say while rubbing your hands together
“I’m guessing i probably can’t get a beer in the lunch area on campus” You ask
Sam hit your arm lightly. “What i’m thirsty and we have been signing shit all day sitting around” You pout
Everyone still hears squeaking and squealing about the special guest’s Sam and Y/N.
“I can’t believe the Y/N and Sam Winchester are going to eat pie at our campus” Stiles fangirls over the thought of it.
Lydia rolled her eye’s at her ridiculous boyfriend but fangirling inside also.
“Alright show me to the pie” You Say putting your hand on Stiles shoulder
“Okay” Stiles looked a little confused. He did not expect for and Lydia to take them to the cafe but he sure is not going to reject.
They watched Y/N eat a lot of pie and talked with Sam. They all talked about what is not fictional in the Supernatural books. Stiles and Lydia spent a lot of time at the cafe with Sam and Y/N having their dreams come true about their favorite character from their favorite books be real.
On April 21, 1967, the 100 millionth GM vehicle rolled off the line at the plant in Janesville – a blue two-door Caprice.
There was a big ceremony, speeches. The lieutenant governor even showed up. Three days later, another car rolled off that same line. No one gave two craps about her. But they should have, because this 1967 Chevrolet Impala would turn out to be the most important car – no, the most important object – in pretty much the whole universe.
She was first owned by Sal Moriarty, an alcoholic with two ex-wives and three blocked arteries. On weekends, he’d drive around giving Bibles to the poor “gettin’ folks right for Judgment Day.” That’s what he said. Sam and Dean don’t know any of this, but if they did, I bet they’d smile.
After Sal died, she ended up at Rainbow Motors, a used-car lot in Lawrence, where a young marine bought her on impulse. That is, after a little advice from a friend. I guess that’s where this story begins.
Romantics believe you can regain the lost ideal love or perfect
state by finding the love or situation that is unique, special and
fulfilling. Consequently, Romantics are idealistic, deeply feeling,
empathetic and authentic; they also can be dramatic, moody and sometimes
Focus of attention - What is missing
Life lesson - To reclaim wholeness in the present moment by appreciating what is
here and now, feeling the experience in their bodies rather than
over-indulging in the story of what’s happening, and accepting yourself
as you are without needing to be special or unique
Speaking style - Fours are expressive of feelings, personal, self-focused and have a
flair for originality. Others may perceive Fours as overly expressive,
unsatisfied with responses and emotionally intense.
What Type Fours tell us about themselves
I long for what’s missing, distant or unattainable – the ordinary pales in comparison.
My deep sense of abandonment translates into a belief that I will never be fulfilled.
I envy and idealize what others have that I don’t.
Authenticity and meaningful experiences are essential to me.
My suffering sets me apart from others.
Relating to Fours
Appreciate their emotional sensitivity, creativity and idealism.
Reveal your own feelings and reactions; avoid being overly rational.
When they are upset, don’t take everything they say too literally since they may be expressing a momentary feeling.
Return to the present and be positive while acknowledging their experience of what is missing.
Seek to understand and empathize without necessarily agreeing.
Psychology Fours often experience a sense of longing, melancholy or envy for what’s
missing. They seek meaning and depth in relationships, work, or their
quest for personal creativity. Many are artists who excel at expressing
universal human emotions. While they are good at creating an image, it’s
most important for them to be authentic. Individualists at heart, Fours
need time alone. To heal and grow, they must balance sadness with the
capacity for happiness and satisfaction.
Basic proposition - You will feel loved, whole and complete if you can find the ideal love or perfect circumstance.
Strengths - Creative, empathetic, idealistic, capable of emotional depth, compassion
Challenges - Moody, withdrawn, self-absorbed, over-sensitive, demanding, unsatisfied with what is
Defense mechanism Introjection – unconsciously incorporating the characteristics of a person or object into one’s own psyche
Fours use introjection to avoid ordinariness and maintain a
self-image of being authentic. Positive introjection helps overcome
feelings of deficiency by seeking value from an idealized relationship
or experience. Using negative introjection, Fours tend to blame
themselves for whatever goes wrong in personal connections.
Awareness practice Observe your habit of mind or focus of attention with as
little judgment as possible. Ask yourself the following questions, while
noticing your feelings and how your body responds:
How have I focused my attention and energy on what was missing?
In what ways do I experience a sense of longing or envy?
How have I diminished or disdained the ordinary or mundane?
Do I feel pride in being special or unique, or feel shame in being less than my ideal?
In what ways have I felt misunderstood?
Spirituality Type Four’s journey is to realize that being whole and complete
comes with acceptance and appreciation of what is here now, in the
present moment – from the inside out, not from the outside in.
Disappointments are part of the fabric of life, not an indication of
deficiency of being.
The aspect of awareness called the Inner Observer allows us to
witness the internal patterns that drive outer behavior. The practice
consists of focusing inwardly and becoming aware of the thoughts,
sensations and other objects of attention that arise within us. As we
become more present, our type patterns begin to relax and receptivity
For Fours, take a moment to reflect on the following principles:
Wholeness already exists, here in the present moment.
Emotional intensity isn’t necessary for emotional fulfillment.
One’s value is inherent – it does not come from being special.
When we focus on what’s missing, we miss out on appreciating what we have.
Cultivating the happiness of others helps us overcome envy and longing.
Somatics As feeling types, Fours have an intense emotional life, which
can lead to big ups and downs. They alternate between striving to win
recognition from others and going deeply into their interior worlds. As
romantic idealists, they seek a personal and meaningful connection to
their work and others. But when things do not measure up, they easily
become disappointed and tend to withdraw. On the other hand, when they
are excited, anxious or full of feelings, they tend to “spill out” into
If you are a Four…
Your task is to establish balance with your emotions and
your relationships, and to notice when you are amplifying your emotion
with provocative or dramatic narratives. A focus on calm, steady
breathing and listening to your body will help connect you to the
vitality of your instincts. Expressive activities – dancing, singing,
art, etc. – channel emotional energy while helping you stay grounded in