Vultology Code 3.0 (PT1: Signals)

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  • Auburn
    Keymaster
    • Type: TiNe
    • Development: l--l
    • Attitude: Adaptive

    Hello!

    The vultology code 3.0 (first talked about here) is almost complete now and I’m excited to show you guys the edits!

    It can be found at: https://cognitivetypology.com/index.php?title=Vultology

    Here is a diagram showing all the changes between the previous 2.15 code and the new 3.0 code:

    (link to the full size version at: this link )

    Overview:

    Version 3.0 only has 64 signals (or 69 depending on how you count (more on that later)), which is down from the previous 110 signals. The main reason for this reduction in signals is the elimination of redundancy and also the elimination of language signals. Examples of these two types of signals would be:

    Redundancy:

    • Te Sassy Head Shakes (which is Sassy Emphasis + Je Head Shakes)
    • Te Sassy Head Nod (which is Sassy Emphasis + Je Head Nod)
    • Ni Faraway Diagonal Drifting (which is Pi Diagonal Drifting + Ni Hypnotic Eyes)
    • Ni Grounded Inertia (which is Pi Inertial Energy + Se/Ni Grounding Effect)

    Language Signals:

    • Pi Rambling
    • Ni Visionary Fatalism
    • Ni Esoteric Se Channeling
    • Ne Indiscriminate Correlating
    • Ne Parodies

    The first category (redundancy) is important to get rid of as we move into a new type of signal analysis where every signal and every second counts. There have been a lot of “ghost” signals in the code that frankly never get clicked, rarely even by me, because they are repetitive. All this fluff is now being removed, so that every signal is distinct and doesn’t overlap with the others.

    The second category (language signals) are not really signals at all — but interpretations of what the subjects are saying. This really doesn’t belong in a visual/audial analysis codex, and the last of those remaining are removed from the 3.0 code.

    There is a third category actually, which are signals that have been inconsistent. These include Ni Unblinking Eyes (it’s sorta true but Ekhart Tolle and others really break this), and the infamous Si Confused Stare/Dancing Brow. Ugh, this one needs to go because so many Ni/Se users do it that it’s practically meaningless. These signals have way too much overlap with a natural Paul Ekman expression of fear/worry/confusion. If we wanna tell apart the eyes — we have other ways to do so.

    Lastly, there are a few signals that have been added. I’ll be talking about those in the posts below. πŸ™‚

    Let me know what you guys think about all this, and any feedback is always welcome!

    • This topic was modified 2 months, 2 weeks ago by Auburn.
    • This topic was modified 2 months, 2 weeks ago by Auburn.
    Auburn
    Keymaster
    • Type: TiNe
    • Development: l--l
    • Attitude: Adaptive

    Judgment & Perception – Changes

    These signals remained largely the same, except P Casual Hands was moved to Pe-4 (PF-4) because these circular hand motions are part of the proactive fluidity of Pe. Almost always when Casual Hands are clicked it’s from a strong Pe user.

    On the J side, J-3 Exacting Hands and J-4 Angular Motions were consolidated into one signal. I’m really happy about this! I dunno about you guys but clicking one almost always implies clicking the other, making it redundant to have both, since the difference is very minor. However, this signal was re-defined as “Punctuated Motions” where “The body moves in exact linear vectors with definite stops”

    The key takeaway here is the sudden and abrupt stop in motions. Any movements which follow a linear path and then end very suddenly with a halt, will fall under this signal. And naturally the counter-point to this signal is P’s Gliding Motion (which doesn’t come to a sudden stop, but instead glides from one signal to the next).

    Horizontal vs Vertical Movements

    Now, two new signals were added in the place of those that were lost — and ones that I think will be a lot more useful. On Discord we talked about how up-down (for J) versus side-to-side (for P) motions is really core to the difference. This seems to really hold true and it’s something that’s been intuitively part of my reading practice since forever, but hasn’t quite been codified this way before. So here we have:

    R-4: Vertical Movements

    “The hands and head move primarily up and down, with minor side-to-side movement.”

    F-4: Horizontal Movements

    “The hands and head move primarily side-to-side, with minor up and down movement.”

    Although P types may have a bit of up and down movement, it will be “soft” and not go up and down very high. Instead, they’ll tend to go side-to-side more by ratio.

    The rest is the same as before.

    • This reply was modified 2 months, 2 weeks ago by Auburn.
    Auburn
    Keymaster
    • Type: TiNe
    • Development: l--l
    • Attitude: Adaptive

    Energetic Functions

    The majority of Pe/Pi/Je/Ji signals remain the same.

    Except Pi Rambling, as mentioned, and P-4 becoming Pe Casual Hands. And one more — the introduction of this signal:

    RF-5 Narrow Head Zoning

    “The head direction remains confined to a narrow cone-shaped area, rarely wandering outside of this space.”

    This signal was originally described in the material on telling apart Conductor vs Reviser vultology, where I noted that Conductors have stiffer necks, and less wandering body signals:

    (full size link: click here)

    This was never added to the codifier at the time, and I think it’s very important that it be in there — so this felt like the right time to add it. Basically, there is a cone-shaped area in front of the person where their head remains, and it doesn’t swivel out of that range.

    I also made a counter-signal just to give some contrast. This is the opposite of this signal (which would indicate Pe):

    ^ Notice how her head direction sometimes goes way upward (as Pe-leads often do), or far off to the sides. Her head and whole body wanders about, not staying faithfully glued to one narrow cone.

    I’m hoping this will really help tell apart Conductors/Revisers more properly, especially in cases of polarized P-leads. For example the rockstar Se l–l types do wander outside of the cone area, which is one way we can tell them apart from Pi-leads proper.

    —-

    P.S. This signal is similar to Fixed Gaze, except Fixed Gaze relates to the eyes staying steadily locked onto a position, while this signal specifically relates to the face direction staying constrained forward. Pi-leads will normally have both, but they can vary independently.

    Auburn
    Keymaster
    • Type: TiNe
    • Development: l--l
    • Attitude: Adaptive

    Fi/Te and Ti/Fe Signals

    Okay, so the function axes are now being treated as a single visual category — once again to remove redundancy and also because that’s how we end up identifying types anyhow. For a while now, we’ve been typing in terms of whole axes rather than single functions and that really makes the most sense anyhow. For example there’s no sense designating Snarling Tension to Fi and not to Te. Or to have the Taut Square be Te and not Fi. It’s best if we use the Energetic signals to tell us about hierarchy, and just use the function signals to tell us what axes they have.

    Fi/Te

    Specifically as it relates to Fi/Te, there’s been some consolidation. Asymmetrical Mouth signals have been joined into “Wobbling Lips”. There’s no need to distinguish between the two, especially since almost every Wobbling Lips signal is, by extension, an Asymmetrical Mouth signal. Breaking Through Cheeks has also been merged with Snarling Smile, since it’s a special case of a snarling smile. Also, Taut Square Cheeks and Horizontally Split Cheeks have been consolidated into one meta-signal called “Four Point Pulling” — which is the famous “H” pattern:

    Ca-3 Four Point Pulling

    “The levator and depressor muscles stretch the mouth area into four corners, creating a square or box shape to the mouth and cheeks.”

    The opposite of this signal has also been added, as an Fe/Ti signal:

    Ms-3 Two Point Pulling

    “The mouth has no tension on the bottom two corners, but is pulled only in the direction of the top two corners.”

    For Fe/Ti users, the bottom of the jaw does not have those two extra pullings going on, and in general its lax down there. What’s important about framing things this way is that now we can make an affirmative declaration not just when someone has the four-point cheeks, but also when they don’t. This has been missing in the codifier up to now and it’s made it so identifying Fe/Ti is harder than identifying Fi/Te.

    And in the same vein, I decided it was important to do the same regarding Wobbling Lips:

    Ca-4 Wobbling Lips

    “The lips twist and bend their shape randomly, wobbling in multiple directions as the person talks.”

    … so we now have one called Symmetrical Lips:

    Ms-4 Symmetrical Lips

    “The left and right sides of the lips remain symmetrical the majority of the time as the person speaks.”

    ^ notice how the left and right sides of the symmetry line flex the same way, evenly. This is how the mouth of Fe/Ti users normally move, and again it’s an important counterpoint to the Fi/Te mouth tension. Together, I hope these two new signals should make the identification of the J axes more reflective of reality.

    • This reply was modified 2 months, 2 weeks ago by Auburn.
    Auburn
    Keymaster
    • Type: TiNe
    • Development: l--l
    • Attitude: Adaptive

    Emotions (Em)

    So as you guys know, emotions have been separated from cognition in CT. As far as the code goes, this specifically relates to seelie/adaptive and unseelie/directive attitudes. These will still be tracked, but they’ll be tracked as a separate category called “Em.” This is how this category looks like in the new codifier:

    These signals correspond to the following:

    Agreeableness

    • Em-1 Social Emulation (formerly Adaptive Emulation)
    • Em-2 Unbridled Energy (formerly Unbridled Radiation)

    Disagreeableness

    • Em-3 Accusational Pushing (formerly Directive Pushing)
    • Em-4 Anger Expressions (formerly Upset Tension, generalized to Ekman’s Anger expression)

    Fallen Affect Scale

    • Em-5: Fallen Affect (a score of 1-5)

    Your report will come with a section that tracks these emotional signals, like so:

    If you score highest in Agreeableness (Ag), then that’s the same as being Seelie or Adaptive, depending on your quadrant. Likewise for Disagreeableness and Unseelie/Directive.

    With only two signals each, this is by far the least developed part of the code, so there’s certainly room for expansion, if we can get some reliable emotional indicators. πŸ™‚

    Any thoughts or observations are very welcome!

     

    • This reply was modified 2 months, 2 weeks ago by Auburn.
    Alice
    Participant
    • Type: FiSe
    • Development: ll--
    • Attitude: Unseelie

    This is really streamlined and cool! Any idea on when we’ll get our hands on the new codifier? I’m looking forward to trying this all out πŸ™‚

    Auburn
    Keymaster
    • Type: TiNe
    • Development: l--l
    • Attitude: Adaptive

    @alice – I’m glad it’s striking a cord!

    PT2 will be on the new codifier design and how to use it πŸ™‚ I might have that thread up by tomorrow

    Robert Mitchell
    Participant
    • Type: NeFi
    • Development: l-l-
    • Attitude: Seelie

    Interesting changes.Β The horizontal hand motions is a nice signal for sorting out Pi types with strong Je. (Trump and arnie). And you can finally spot those Ni leads with Se thanks to head zoning (Harry will be pleased)

    And it seems I have 3 point pulling, lending weight to my mixed hemisphere hypothesis. (I’ve become quite aware of flicking between Ti and Fi perspectives now)

    I think you have made some improvements even if you have lessened your scope slightly. All the best.

    Anyway back to lurking.

    fayest42
    Participant
    • Type: FiNe
    • Development: ll--
    • Attitude: Unseelie

    Looks great! I’m really glad to see the signals evolve to reduce redundancy and remove language analysis.

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