Our Model of Development in Socionics

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There is a popular misconception that individuals always have innate, “strong” Ignoring and Demonstrative functions. Instead, these functions are developed through exposure to the information elements.

One’s abilities with one’s lead and creative functions are not limited by socionics. These first two functions of a type are the ones with which that type naturally has most ability, and the role and vulnerable are the ones with which a type naturally has the least ability.
One justification for this: The ability to use role and vulnerable is suppressed because of dichotomies with Lead and Creative respectively. The aspects in these functions are opposite sides of the Logic-Ethics and Sensorics-Intuition dichotomies. They contradict each other, and cannot be used at the same time: using one’s Role actively goes against using one’s Lead. Example: Punching an opponent in the face (Se) closes off one’s options (Ne) in any future dealings.

Unlike the first four functions, the abilities with the aspects in the last four functions are flexible. In these functions of model A, changes of ability occur due to exposure to various information elements.

A Tradeoff between Opposite Aspects

Let’s define the following terms: Development of an aspect is the acquisition of new abilities with the aspect, Degeneration of an aspect is the loss of abilities with the aspect. Development and Degeneration are always “of abilities with aspects”. Development occurs as a consequence of exposure to information elements. Degeneration is not spontaneous; it only occurs because the opposite aspect is developed.

Note also that these terms are value-neutral: there can be developments of the abilities one happens to disvalue, in the strict Socionics sense that the abilities developed are of aspects in a disvalued function. Similarly degenerations can be of abilities that one happens to disvalue.

Development of one aspect is always at the expense of another. Similarly, the aspect in the suggestive function is opposite to the aspect in the ignoring function, and therefore you cannot develop abilities in both: they are fundamentally conflicting ways of acting/thinking/being.

Consequently, you cannot develop both of the Mobilising+Suggestive block and the Ignoring+Demonstrative block. Although you always have abilities with aspects in your Lead+Creative, you might develop either your Ignoring+Demonstrative or your Mobilising+Suggestive, but never both.

However, you can develop aspects independently of blocks: If you’ve developed e.g. your suggestive function, then you might develop either your demonstrative or your mobilising. The question here is — to what extent?

Exposure and Levels of Development

Aspects are part of reality that we can perceive. More precisely, reality has aspects in all combinations, but according to Socionics, we perceive them both individually and in blocks of two.

If you perceive your lead aspect, you have your lead blocked with your creative. There are two variations of creative for any lead (your blocking and your kindred’s blocking).

You might get highly unequal exposure to various information elements. For aspects in the first two blocks this is not formative of personality, because they exhibit no development. On aspects in the last two blocks, this unblocked exposure limits your development: you might not have the occasion to learn to process them in a blocked way (one of the elements of a block might simply be absent). Therefore, we can establish two levels of ability:

  • a primary level of ability derived from the base, unblocked aspect, and a secondary level of ability derived from the aspect as it appears in its block.
  • a secondary level of ability can only be acquired if both elements in the block have been developed to a primary level; the secondary level “builds upon” the first level with abilities that require simultaneous use of primary abilities.

Directions of Development

An individual starts with ability in their Lead+Creative, with blind spots / disabilities in their Role and Vulnerable, and with equally undeveloped abilities in their Suggestive, Mobilising, Ignoring, and Demonstrative. With exposure to these aspects, individuals begin to develop them.

They first gain primary level of ability with two aspects and then, if these are aligned with their model A blocks, they gain a secondary level of ability.

Because of blocks and the existence of opposite aspects, there are four developmental “directions” open to each type. There are two directions that align with a type’s blocks and can result in all levels of ability (development of Suggestive and Mobilising, or Ignoring and Demonstrative). There are also two directions that do not align with a type’s blocks, and therefore can lead only to primary levels of ability (development of Mobilising and Ignoring, or Suggestive and Demonstrative).

If individuals with developed aspects subsequently begin to develop abilities along a different direction, it is always at the expense of the abilities along the first direction. For instance, developing Ti causes degeneration of Fi (because these are opposite aspects).

Case Studies

In order to illustrate the above, consider the following case studies:
A) Illusory Parenting

Consider a parent-child relation between two Illusory types, in particular an ILE parent raising an IEI child. By exposure to the parent’s Lead and Creative, the child develops both Ne (their Ignoring) and Ti (their Mobilising). This development is not aligned with the IEI’s natural blockings, so their development is stunted at a primary level of ability. The child’s constant exposure to and use of Ne prevents them from developing Se, just as their exposure to and use of Ti prevents them from developing Fi. In fact, the ILE parent has role Se: they might actively prevent their child from being exposed to Se (which they abhor), even though it is the child’s Suggestive.
The child cannot acquire secondary level abilities aligned with their own psychology, until they gain some degree of independence from the parent.

Similar dynamics exist in Semi-dual and Request relations.

B) Dualisation and Extinguishment as developmental processes

Consider a friendship between two Dual types, in particular an ILI and an SEE. By exposure to the ILI’s Lead and Creative, the SEE develops both Ni (their Suggestive) and Te (their Mobilising). By exposure to the SEE’s Lead and Creative, the ILI develops both Fi (their Mobilising) and Se (their Suggestive). These developments are aligned with both types’ blockings, and in fact they develop each other’s valued functions. They are able, with mutual interactions, to break through from primary to secondary levels of ability. This mutual development is known as Dualisation.

There is a similar alignment between two Extinguishers. Consider an LSI with a secondary level of ability with Ni and Fe, and consider their prolonged exposure to an LSE. The LSI might develop Te and Si as a result, not only losing their abilities with Ni and Fe in the process, but also (eventually) gaining a secondary level of ability with their Ignoring and Demonstrative functions.
Extinguishment and Dualisation are both aligned to the types’ blockings, but they pull in opposite directions.


There are developmental patterns in Socionics that are a consequence of the structure of Model A. Because aspects are pairwise opposites (Te vs Fe, Se vs Ne), development of one aspect entails degenerescence of the other. Because aspects appear both as individual functions and as blocks, there are two levels of development, and there are four directions along which a type can develop. However not all levels are accessible in all directions; only directions that align with a type’s natural blockings offer theoretically unrestricted development.

In light of this, we can show why the notion of innate, “strong” abilities with Ignoring and Demonstrative functions is a misconception: It does not support the idea of dualisation. If you had innate abilities with these aspect, you would perceive your dual as half-dual and half-superego/conflictor. Indeed, as well as satisfying each others’ suggestive and mobilising, duals would be hitting each others’ (unvalued) role and vulnerable. But (and this is key) they would not dualise in response to exposure to one another. On the other hand our model guarantees that Dualisation is possible.

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Gamma Quadra on screen

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As described on the first article around Quadra values on screen, Gamma movies are plot-driven, with twists and psychological introspection on characters. Their narratives usually offer a snapshot of the darker aspects of human nature and society.

As such, they can fall under one of the following three categories. The first type draws more heavily on intuition and logic (Ni + Te) , while the other two focus on the other block (Se + Fi), hence entailing a form of (covert or overt) power struggle.

  1. The more cerebral films depict the shortcomings of reality as a whole (Ni + Te) and often use a cynical tone. It is not uncommon for Gamma stories to expose the grimmest faces of the establishment, institutions, culture and other facets of society. An example of this narrative is David Fincher’s “Fight Club” (1999). Not only does this movie criticise the dehumanising impact of consumerism on individuals, but it also unveils the narrator’s turn to another form of tribalism (i.e. a violent terrorist group) as inevitable alternative. In the scene below, Tyler Durden (SEE) teaches his life philosophy and view of the world (Ni + Te) to the narrator, using force and pain (Se) as means of learning.
  2. Covert power struggle can manifest in the form of the protagonist’s individual competitiveness and ambition to find a place in society, as well as the tendency to push moral boundaries to meet their impulses and desires. An example from this category are Martin Scorsese’s “The wolf of Wall Street” (2013). The former tells the real story of how Jordan Belfort’s (LIE) made a fortune by adopting fraudulent techniques and ripping off his customers.The movie shows Belfort’s cunning abilities in understanding the broker’s market and plotting his business’ schemes (Te+ Ni). In addition, several scenes emphasise the slyness in his sales style, when he tries to earn his customers’ trust (Fi + Se) to convince them to purchase rubbish stocks. This is particularly obvious in the scene below, where Belfort using metaphors paints a picture of his company’s “mission”, knowing what his potential customers might be seeking for before making an investment (Fi + Se in support of Te). 
  3. Overt power struggle is depicted as open rivalry and conflict between individuals or groups, involving inevitable betrayals and psychological manipulations as means to win. Many popular contemporary TV series, such as the Walking Dead (2010-2019), Game of Thrones (2011-2019), the Borgias (2011-2014) and Peaky Blinders (2013-2019), are Gamma and fall under this category. When it comes to the big screen, good examples arise from Sergio Leone or Quentin Tarantino’s filmography. In the “Hateful Eight” (2015), a blizzard draws all characters to a lodge, where the conflict between them is gradually unveiled, ending up with everyone’s death. After the General gets killed, the movie shows an escalation of tension (Se) between the characters, playing with what is not said (Fi). This is particularly evident in the Chapter 4 linked below, where Daisy Domergue is aware that the coffee had been poisoned, yet she deliberately chooses not to say anything while her guard John Ruth drinks the coffee. Instead, the camera locks on her smiling face (Fi), unveiling her satisfaction about John Ruth being doomed and establishing a shift in the power dynamics between the two characters (Se + Fi). 

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Cinematic style and Socionics: a comparison between Beta and Delta

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Following our previous articles about core themes and narratives in Beta and Delta movies,  here we compare the main cinematic features found in their movies. As discussed on the previous piece,since these Quadras value opposite aspects, significant differences arise in terms of visual style and acting. As usual, we will be analysing films’ contents, so beware of spoilers!

The tone of Beta films involves intensified delivery (Fe + Ni). This is achieved by a theatrical, colourful and striking way of acting. An example can be Jack Sparrow (EIE) in the “Pirates of the Caribbean, the curse of the Black Pearl” (2003), who captures the attention with his striking manners. Everything he does is a performance, a way to transmit his personality, even when he is alone. Jack Sparrow’s entrance can be seen on the video below: 

In contrast to Beta, the style of Delta movies involves a Realistic* rendition of characters and situations (Te+Si). This is achieved through a careful choice of sceneries, costumes, sound effects, dialogues and acting style that are as close as possible to the common reality which the movie is portraying. In the below scene from Christopher Nolan’s “Dunkirk” (2017), the style of direction, as well as lights and sounds, describe the situation without cinematic indulgences, helping the audience immerse in the experience of the characters.

Power dynamics (Se) play an important role in Beta films. They are expressed through the use of physical space and body language, such as characters’ stance and position in physical space and in relation to material objects and other characters. In this scene from the 1959’s movie “Warlock”, Blaisdell’s character shows his control over the situation by remaining where he was – at the bar counter when he is called by an opponent. He then moves slowly and positions himself directly in front of his opponent, literally and figuratively facing him. His response comprises self-assured mockery with an implied threat. The dialogue that happens between him and his opponent uses metaphors (Ni) that cleverly follow one another in a logically consistent way (Ti) – the “blinding” glow of the gold handles of his colts being used to describe his obtruding presence in town.  “What if someone painted the handles black for you?” – “That might do. [pause] But who’s to do it?”.

As opposed to Beta films’ interest and showcase of external conflict, Delta movies focus on exploring characters’ internal struggle and experiences. Such introspection is often delivered in a subdued way, refraining from explicitly stating characters’ feeling and intentions. Instead, the scene will slow down to emphasise small physical details (Si) as well as the subtext through the actors’ facial expressions (Fi), assigning meaning to silences. This is visible in the final scene of 2004’s film “Brokeback Mountain”, linked below. In the ending, the audience finds out that, 20 years before, the protagonist Ennis Del Mar (SLI) had stolen Jack Twist’s (IEE) shirt as a token of his presence. Along with a close-up on Ennis’ moved expression, the revelation about the shirt is a hint to love and desires which he had kept secret all those years.

Stepping into the ethical domain, Beta films wallow in a soul-stirring passion. Those are the scenes where the close-ups may come into play to transmit the intensified emotions (Fe + Ni) to the audience. Here is an example of emotional close-up where it intensifies rage – movie clip from the “Gunfight at the OK Corral” (1957) shows Kirk Douglas as Doc Holliday mad with a repressed rage, as he makes an effort not to brace Johnny Ringo because Doc gave a word to his lawman friend that there won’t be any fighting (see scene below).

Depending on the film genre, it is not uncommon for Delta stories to include inspiring motivational dialogues or magical/absurd elements adding meaning to the real world. A very clear example of the former is this famous speech from “Dead poets society” (1989), where John Keating (IEE) encourages his students to make the most of their lives and to become the best versions of themselves, as shown on the video below.

The injection of supernatural elements into real-life situations can be noticed in all movies by director Guillermo del Toro, such as the below scene from “Pan’s labyrinth” (2006). In this movie, the protagonists Ofelia (EII) interacts with the magical beings populating her garden labyrinth, while important real-life events are affecting her family and the historical surrounding.

*in this context, this term refers to the connotation describing the literary/artistic movement

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Delta Quadra on Screen

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In the previous article, we gave an overview about Quadra values on screen. This article delves into the main features of films emphasising values of the Delta Quadra, in terms of characterisation and narrative structure.

Delta protagonists

Delta protagonists can show the following characteristics:

1) A flawed person for whom the audience can sympathise, going through a positive transformation. An example would be King George VI  in “The King’s speech” (2010). Upon his coronation, the protagonists needs to undergo speech therapy in order to overcome his limitation and fulfil his duty as the king of the United Kingdom.

2) An extremely competent person, who is able to apply practical knowledge to solve problems and improve reality. An example would be Matt Watney (LSE), the protagonist of Ridley Scott’s “The Martian” (2015). As exemplified on the video below, Matt demonstrates intelligence and resourcefulness, finding creative solutions within an extreme natural environment, relying solely on his own scientific knowledge.

3) A more idealised version of a Delta protagonist would be an exemplary individual, who stands out due to their high moral standards and their ability to initiate change in situations or in other people. An emblematic character embodying this Delta “hero” is Juror 8 (EII) in “Twelve angry men” (1957), a compassionate individual who has the courage to challenge the unanimous opinion of the rest of the jury. Facing the task of defining a verdict in a murder trial, Juror 8 emphasises the value of the life at stake and prompts the other jurors to consider different options, as shown on the scene below. Thanks to the protagonist, the jury goes through a process of self-awareness and growth, coming to terms with the roots of their own prejudices.

Narrative structure of Delta stories

In Delta works, the antagonistic force usually takes the shape of an obstacle which triggers change in characters or groups. This can be embodied by a specific character (i.e. the villain) as well as hostile situations and/or social norms that are considered obsolete.

While the negative traits of the villain might be emphasised in the context of their impact and interaction with the protagonist, the villain is not usually depicted as indisputably evil. In fact, Delta narratives might delve deeper into the villain’s background and motives, offering psychological grounding of their actions and often proposing an arc of redemption. Similarly, a more abstract antagonistic force, such as social bigotry or cynicism, would often highlight the shortcomings in human nature which can potentially be surpassed (usually thanks to intervention of the protagonist).

In a Delta happy ending, the antagonistic force will be overcome, solving the protagonist’s’ struggle. This might happen because the villain has been defeated by the protagonist or (even better!) has redeemed themselves. An example of redemption arc can be seen in the first instalment of the “Ice Age” franchise (2002). At the beginning of the film, Diego is depicted as a ruthless predator in charge of getting revenge by killing the human baby. However, upon befriending the main characters, he switches side and turns against the pack of saber-toothed tigers in the final battle.

In cases where the antagonistic force has an abstract nature, happy endings will involve the removal of the obstacle by means of character evolution. For instance, Disney’s “Zootopia” (2016) ends with both individual and collective transformation leading to an improved, harmonious and inclusive society.

In a tragic narrative, the main character(s) and the rest of the ensemble would be unable to evolve and abandon their flaws. An example of Delta tragedy is Ang Lee’s “Brokeback Mountain” (2005). In this movie, the romance between the two main characters is challenged not only externally by the social bigotry of 1960s’ South, but also by Ennis Del Mar’s (SLI) internal struggle. During the two decades covered in the film, Ennis is unable to let go of his fears, preventing him from ever achieving happiness with his lover Jack Twist (IEE), as exemplified in the scene below. Despite Ennis’ lack of growth, the audience is meant to sympathise with his weakness as a result of an adverse social context.

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Quadra values on screen

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It is a common practice to assign a specific type or Quadra not only to fictional characters, but also to films, TV series or other forms of fictional entertainment. In fact, such contents might emphasize some aspect of information metabolism or ignore /reject other aspects, in line with the values of a specific Quadra. This is the first of a series of articles which will highlight the differences between Quadras on screen in terms of themes and style.

Since they have aspects blocked in the same way yet completely different values, the two pairs of opposite Quadras (i.e. Alpha and Gamma, Beta and Delta) tend to cover similar topics with opposite perspectives. The former make movies that are plot-driven, the latter are largely character-centred. In fact, by watching Alpha and Gamma movies, the audience will learn about the world of the movies, while in Beta and Delta movies, the audience will learn about the characters.

Alpha and Gamma films (intuition blocked with logic, sensing blocked with ethics) tend to present complex plots, expecting the audience to show greater interest in the development of the story than the characters themselves. In fact, the protagonist becomes merely the agent through which a matter is explored. Their attitude towards characterisation is ambiguous, emphasizing the shades of grey within people and situations.

The main difference between these two Quadras lies in their attitude towards the outcome of the story. While Alpha show curiosity and fascination towards the new and surprising facets of reality explored through the story, Gamma would often offer a sarcastic commentary on the inevitability of the story’s ending, emphasizing the underlying direction of reality. Examples of plot-driven movies from the Alpha Quadra are Robert Zemeckis’ “Back to the future” (1985), Richard Donner’s “The Goonies” (1985) and Jaco Van Dormael’s “Mr Nobody” (2009). On the other hand, examples from the Gamma Quadra would be Sergio Leone’s “spaghetti western” films, such as “The good, the bad and the ugly” (1968),  Quentin Tarantino’s “Pulp fiction” (1994), and Dan Gilroy’s “Nightcrawler” (2014).

Beta and Delta films (intuition blocked with ethics, sensing blocked with logic) usually tell stories involving a polarity between the main characters, for whom the audience is supposed to root, and an antagonistic force.

These two Quadras have got antithetical ways of characterising the protagonist. While Beta stories romanticize the exceptional and outstanding qualities of the protagonist, Delta‘s interest is to describe the main characters’ intimate experience, with a focus on their vulnerabilities and potential for growth. In both Quadras, an admirable character would fit the dictionary definition of a hero as: 1) a “person who is admired for their courage, outstanding achievements, or noble qualities” (Beta) or “a person who, in the opinion of others, has special achievements, abilities, or personal qualities and is regarded as a role model or ideal” (Delta).

Examples of character-driven stories for Beta are Mitchell Leisen’s “Darling, how could you” (1951), Morton DaCosta’s “The music man” (1968), and Paul Verhoeven’s “The soldier of orange” (1977). Examples of Delta movies are John Avildsen’s “Rocky” (1977),  Michael Gondry’s “Eternal sunshine of the spotless mind” (2004) and Valerie Faris and Jonathan Dayton’s “Little miss sunshine” (2008).

Occasionally films might focus on an aspect that is inconsistent with the overall Quadra vibe in order to align with social norms. For instance, back in 1950s, as a consequence of the prevalence of a Beta over-the-top style, it was not uncommon for Delta movies to convey dramatic emotional expressions, such as  Sydney Lumet’s Twelve angry men (1957).

Another example of inter-Quadra influence is Paul Verhoeven’s “The soldier of orange” (1977), which is a Beta film influenced by the 1970’s Gamma atmosphere. The tone of the movie is Beta’s heroic adventurousness with a focus on Erik Lanshof’s (SLE) character. On the other hand, through other characters it reveals a more nuanced reality. 

Similarly, in recent days, when Delta or Gamma contents are most common, an Alpha movie such as Marc Forster’s “Christopher Robin” (2018) would show some Delta elements, with a very moralistic rendition of relationships and a Delta-like message.

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Our Very Own Theory of Functions Development

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Unexpectedly emotional EIIs, SLE who is preoccupied with efficiency or an SEE busy creating comfortable environment… We take it upon ourselves to explain this variance within the types.

A note for the skeptics: Nope, it’s still a model. It does not mean that borders between types are blurred. The aspects of a type remain exactly where they are supposed to be. It’s not a change of type, but it’s something that can change within the type. The type doesn’t change. Never ever.

The development of functions

The term dualization was coined by Aushra Augustinaviciute to describe the process of the Duality relations. In her work «Дуальная Природа Человека» ( “The Dual Nature of A Person” ) she writes:

Original Russian text:

«Отношения между двумя типами ИМ, когда второй имеет нужные дополняющие качества, назовем отношениями дополнения, сам процесс дополнения — дуализацией.»

English translation:

“Relations between 2 types of Information Metabolism when one has the supplementing qualities to the other we will call the Relations of Supplementation, and the process – Dualization”.

The concept of self-dualization ( development (strengthening) of Suggestive and Accessing functions) has been around for quite some time too. The idea is that if conditions are right the Suggestive and Accessing functions can start generating output as well as accepting input.

These conditions being getting enough information of the aspects that are in the Suggestive and Accessing functions of a type and at the same time the lack of someone taking care of these for the person.

For example: An IEI with developed Se+Ti can use straightforward pressure to achieve a goal or successfully exercise control over a situation.

Hypothesis 1: Suggestive and Accessing can only be developed by a type with both aspects in first two positions

We argue that self-dualization is only possible by obtaining the information on both Suggestive and Accessing functions from a type that has them both as either Lead or Creative.

For example: An IEI can self-dualize from SLE or LSI, but cannot develop Se from SEE/ESI or Ti from LII/ILE. Neither can IEI strengthen these functions from another IEI who has more developed Suggestive and Accessing than the first one.

Hypothesis 2: 4 aspects of the Socionics Model can be developed (become stronger)

We claim that there is also another possible process – development of the last 2 functions of the Model – Ignoring and Background. By default, these functions accept the information well and send the information over to the lead and creative to generate the output, but do not generate the output themselves. If these functions get developed, they start generating output as well.

For example: An IEI can develop Fi and Ne to the point where IEI’s statements and behavior will resemble those of an EII. Or an EII can develop Ni and Fe to the point where EII will come across a lot more emotionally expressive and dreamy than a default type.

Hypothesis 3: Only one of the pair of the antagonistic aspects can be developed at a time

There are pairs of aspects that are mutually exclusive or as we call them antagonistic. We will provide further information on the antagonistic aspects soon.

For example: An EII can not have Te and Fe developed at the same time, nor can it have Ni and Si. But it is possible for an EII to have Te and Ni or Fe and Si developed at the same time – if one was first self-dualized and then developed one of the last functions.

A quick summery and comments:

And in the end…

We believe these observations are potentially groundbreaking in defining the variable variations within types, and can be applied to things like understanding difficulties in dualization for some, as well as help with Socionics typings by interview and observation.

We will provide more information and case studies in the future articles.

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Can an MBTI type be translated into Socionics?

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It is the time to put it plain – No, it can not be translated.

Socioncis and MBTI share the roots and both theories can be traced back to Carl Jung’s works, and therefore seem superficially similar, especially as they have common names for terms.

But this seeming similarities only create confusion.

To prove this it is enough to compare the MBTI functional attitudes to Socionics aspects. The terms are the same (Introverted Feeling, Extraverted Sensation etc), but that’s where the similarities end for the most of them.

MBTI Fi (Introverted Feeling):

Seeks harmony of action and thoughts with personal values. May not always articulate those values.”

Socioncis perspective:

  1. Articulating values ( or anything else ) is by definition a Logical (Thinking) trait rather than an Ethical (Feeling) one. Therefore any Fx type will not have a great natural ability at that, unless they also have a developed (dualized) Logic (Thinking). That is if we are talking about “articulation” and not inner understanding of a phenomena.

  2. Fi in Socionics is also known as Ethics of Relationships, and as such it covers the relationships of a person with another person, a group or society. Fi also covers understanding the internal drives, the motivations of people and not just oneself. ( read full description of Fi here: http://socionics.world/aspect/Fi )
  3. Seeking harmony” in particular seems to be a pretty narrow slice of what one will do with an aspect ( functional attitude ). Socionics maintains that an aspect covers particular type of information, but what it is used for is outside of the spectrum of Socionics. E.g. Ethics of Relationships doesn’t mean that one seeks harmony in Relationships, it means that one has ability to understand how relationships work, ability to influence them and has interest in relationships between people.
  4. If we attempt to compare it with the Socinics Fe – it won’t make any sense at all, as Socionics Fe (aka Ethics of Emotions) deals with understanding and valuing emotions, understanding mood and how to create one; the ability to adjust the emotional atmosphere ( read full description of Fe here: http://socionics.world/aspect/Fe )

MBTI Fe (Extraverted Feeling):

Seeks harmony with and between people in the outside world. Interpersonal and cultural values are important.

Socioncis perspective:

  1. Ultimately it seems that Feeling types in MBTI always have harmony as a main agenda, which again is super-narrow.
  2. Interpersonal and cultural values are important” – even the word “interpersonal” implies connections between people and that will be in the domain of Fi, although it will not nearly cover all types of information Fi deals with. ( read full description of Fi here: http://socionics.world/aspect/Fi )

(The source of the MBTI function attitudes descriptions is: http://www.myersbriggs.org/my-mbti-personality-type/understanding-mbti-type-dynamics/the-eight-function-attitudes.htm )

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