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First of all, we should make a distinction between systems and texts. A system, for instance a linguistic system, is the whole of the possibilities displayed by a given natural language.

If you are able to use an English dictionary well you could write Hamlet, and it is by mere chance that somebody did it before you. Give the same textual system to Shakespeare and to a schoolboy, and they have the same odds of producing Romeo and Juliet.

A text castrates the infinite possibilities of a system.

Finnegans Wake is certainly open to many interpretations, but it is certain that it will never provide you with a demonstration of Fermat's last theorem, or with the complete bibliography of Woody Allen. This seems trivial, but the radical mistake of many deconstructionists was to believe that you can do anything you want with a text. This is blatantly false.

AT THIS POINT one can raise a question about the survival of the very notion of authorship and of the work of art, as an organic whole. And I want simply to inform my audience that this has already happened in the past without disturbing either authorship or organic wholes.

I have tried desperately to find an instance of unlimited and finite textual situations, but I have been unable to do so. In fact, if you have an infinite number of elements to play with why limit yourself to the production of a finite universe? It's a theological matter, a sort of cosmic sport, in which one, or The One, could implement every possible performance but prescribes itself a rule, that is, limits, and generates a very small and simple universe.

A hypertext can give the illusion of opening up even a closed text: a detective story can be structured in such a way that its readers can select their own solution, deciding at the end if the guilty one should be the butler, the bishop, the detective, the narrator, the author or the reader. They can thus build up their own personal story. Such an idea is not a new one.

All these physically moveable texts give an impression of absolute freedom on the part of the reader, but this is only an impression, an illusion of freedom.

n contrast, a stimulus-text that provides us not with letters, or words, but with pre-established sequences of words, or of pages, does not set us free to invent anything we want. We are only free to move pre-established textual chunks in a reasonably high number of ways.

A BOOK OFFERS US A TEXT which, while being open to multiple interpretations, tells us something that cannot be modified.

That is what every great book tells us, that God passed there, and He passed for the believer as well as for the sceptic. There are books that we cannot re-write because their function is to teach us about necessity, and only if they are respected such as they are can they provide us with such wisdom. Their repressive lesson is indispensable for reaching a higher state of intellectual and moral freedom.

Even after the invention of printing, books were never the only instrument for acquiring information. There were also paintings, popular printed images, oral teaching, and so on. Simply, books have proved to be the most suitable instrument for transmitting information.

Hypertexts will certainly render encyclopaedias and handbooks obsolete.

Then they are books to be consulted, like handbooks and encyclopaedias.

There are two sorts of book: those to be read and those to be consulted.

Yet, can a hypertextual disk or the WWW replace books to be read? Once again we have to decide whether the question concerns books as physical or as virtual objects. Once again let us consider the physical problem first.

Books belong to those kinds of instruments that, once invented, have not been further improved because they are already alright, such as the hammer, the knife, spoon or scissors.

TWO NEW INVENTIONS, however, are on the verge of being industrially exploited. One is printing on demand: after scanning the catalogues of many libraries or publishing houses a reader can select the book he needs, and the operator will push a button, and the machine will print and bind a single copy using the font the reader likes. This will certainly change the whole publishing market.

Simply put: every book will be tailored according to the desires of the buyer, as happened with old manuscripts.

Alas, if by chance one hoped that computers, and especially word processors, would contribute to saving trees, then that was wishful thinking. Instead, computers encourage the production of printed material. The computer creates new modes of production and diffusion of printed documents.

the instrumentalist's freedom is a function of the "narrative" structure of the piece

the instrumentalist's freedom is a function of the "narrative" structure of the piece

the instrumentalist's freedom is a function of the "narrative" structure of the piece,

the instrumentalist's freedom is a function of the "narrative" structure of the piece

the instrumentalist's freedom is a function of the "narrative" structure of the piece,

the instrumentalist's freedom is a function of the "narrative" structure of the piece, w

the new musical works referred to above reject the definitive, concluded message and multiply the formal possibilities of the distribution of their elements.

initiative of the individual performer

As he reacts to the play of stimuli and his own response to their patterning, the individual addressee is bound to supply his own existential credentials, the sense conditioning which is peculiarly his own, a defined culture, a set of tastes, personal inclinations, and prejudices. Thus, his comprehension of the original artifact is always modified by his particular and individual perspective. In fact, the form of the work of art gains its aesthetic validity precisely in proportion to the number of different perspectives from which it can be viewed and understood.

it is obvious that works like those of Berio and Stockhausen are "open" in a far more tangible sense.

Instead nowadays it is primarily the artist who is aware of its implications.

However, in this type of operation, "openness" is far removed from meaning "indefiniteness" of communication, "infinite" possibilities of form, and complete freedom of reception. What in fact is made available is a range of rigidly preestablished and ordained interpretative solutions,

and these never allow the reader to move outside the strict control of the author.

It is not that the four solutions of the allegorical passage are quantitatively more limited than the many possible solutions of a contemporary "open" work. As I shall try to show, it is a different vision of the world which lies under these different aesthetic experiences

Now if Baroque spirituality is to be seen as the first clear manifestation of modern culture and sensitivity, it is because here, for the first time, man opts out of the canon of authorized responses and finds that he is faced (both in art and in science) by a world in a fluid state which requires corresponding creativity on his part.

the new man's inventive role. He is no longer to see the work of art as an object which draws on given links with experience and which demands to be enjoyed; now he sees it as a potential mystery to be solved, a role to fulfill, a stimulus to quicken his imagination.

W. Y. Tindall, in his book on the literary symbol, offers an analysis of some of the greatest modern literary works in order to test Valéry's declaration that "il n'y a pas de vrai sens d'un texte" ("there is no true meaning of a text"). Tindall eventually concludes that a work of art is a construct which anyone at all, including its author, can put to any use whatsoever, as he chooses. This type of criticism views the literary work as a continuous potentiality of "openness"-in other words, an indefinite reserve of meanings. This is the scope of the wave of American studies on the structure of metaphor, or of modern work on "types of ambiguity" offered by poetic discourse.

Clearly, the work of James Joyce is a major example of an "open" mode, since it deliberately seeks to offer an image of the ontological and existential situation of the contemporary world.

Here the work is "open" in the same sense that a debate is "open." A solution is seen as desirable and is actually anticipated, but it must come from the collective enterprise of the audience. In this case the "openness" is converted into an instrument of revolutionary pedagogics.

the examples considered in the preceding section propose an "openness" based on the theoretical, mental collaboration of the consumer, who must freely interpret an artistic datum, a product which has already been organized in its structural entirety (even if this structure allows for an indefinite plurality of interpretations). On the other hand, a composition like Scambi, by Pousseur, represents a fresh advance.

it is clear that a composition such as Scambi poses a completely new problem. It invites us to identify inside the category of "open" works a further, more restricted classification of works which can be defined as "works in movement," because they characteristically consist of unplanned or physically incomplete structural units

If we turn to literary production to try to isolate an example of a work in movement," we are immediately obliged to take into consideration Mallarmé's Livre, a colossal and far- reaching work, the quintessence of the poet's production. He conceived it as the work which would constitute not only the goal of his activities but also the end goal of the world:

In every century, the way that artistic forms are structured reflects the way in which science or contemporary culture views reality.

Hence, it is not overambitious to detect in the poetics of the "open" work – and even less so in the "work in movement” – more or less specific overtones of trends in contemporary scientific thought.

The notion of "possibility" is a philosophical canon which reflects a widespread tendency in contemporary science; the discarding of a static, syllogistic view of order, and a corresponding devolution of intellectual authority to personal decision, choice, and social context.

The two-value truth logic which follows the classical aut-aut, the disjunctive dilemma between true and false, a fact and its contradictory, is no longer the only instrument of philosophical experiment. Multi-value logics are now gaining currency, and these are quite capable of incorporating indeterminacy as a valid stepping-stone in the cognitive process. In this general intellectual atmosphere, the poetics of the open work is peculiarly relevant: it posits the work of art stripped of necessary and foreseeable conclusions, works in which the performer's freedom functions as part of the discontinuity which contemporary physics recognizes, not as an element of disorientation, but as an essential stage in all scientific verification procedures and also as the verifiable pattern of events in the subatomic world.

This is not the place to pass judgment on the scientific validity of the metaphysical construct implied by Einstein's system. But there is a striking analogy between his universe and the universe of the work in movement

All these examples of "open" works and "works in movement" have this latent characteristic, which guarantees that they will al- ways be seen as "works" and not just as a conglomeration of random components ready to emerge from the chaos in which they previously stood and permitted to assume any form whatsoever.

Now, a dictionary clearly presents us with thousands upon thou- sands of words which we could freely use to compose poetry, essays on physics, anonymous letters, or grocery lists. In this sense the dictionary is clearly open to the reconstitution of its raw material in any way that the manipulator wishes. But this does not make it a "work." The "openness" and dynamism of an artistic work consist in factors which make it susceptible to a whole range of integrations. They provide it with organic complements which they graft into the structural vitality which the work already possesses, even if it is incomplete. This structural vitality is still seen as a positive property of the work, even though it admits of all kinds of different conclusions and solutions for it

already acknowledged as the general background to performance. These poetic systems recognize "openness" as the fundamental possibility of the contemporary artist or consumer.

Electronic literature, generally considered to exclude print literature that has been digitized, is by contrast "digital born," a first-generation digital object created on a computer and (usually) meant to be read on a computer

At the same time, because electronic literature is normally created and performed within a context of networked and programmable media, it is also informed by the powerhouses of contemporary culture, particularly computer games, films, animations, digital arts, graphic design, and electronic visual culture

Digital technologies are now so thoroughly integrated with commercial printing processes that print is more properly considered a particular output form of electronic text than an entirely separate medium. Nevertheless, electronic text remains distinct from print in that it literally cannot be accessed until it is performed by properly executed code

immediacy of code to the text's performance is fundamental to understanding electronic literature, especially to appreciating its specificity as a literary and technical production

How to maintain such conventional narrative devices as rising tension, conflict, and denouement in interactive forms where the user determines sequence continues to pose formidable problems for writers of electronic literature, especially narrative fiction.

. "Giving the audience access to the raw materials of creation runs the risk of undermining the narrative experience," she writes, while still acknowledging that "calling attention to the process of creation can also enhance the narrative involvement by inviting readers/viewers to imagine themselves in the place of the creator.

Hypertext fiction, network fiction, interactive fiction, locative narratives, installation pieces, "codework," generative art and the Flash poem are by no means an exhaustive inventory of the forms of electronic literature, but they are sufficient to illustrate the diversity of the field, the complex relations that emerge between print and electronic literature, and the wide spectrum of aesthetic strategies that digital literature employs

. Such close critical attention requires new modes of analysis and new ways of teaching, interpreting, and playing. Most crucial, perhaps, is the necessity to "think digital," that is, to attend to the specificity of networked and programmable media while still drawing on the rich traditions of print literature and criticism.

One problem with identifying the hyperlink as electronic literature's distinguishing characteristic was that print texts had long also employed analogous technology in such apparati as footnotes, endnotes, cross-reference, and so on, undermining the claim that the technology was completely novel. Perhaps a more serious problem, however, was the association of the hyperlink with the empowerment of the reader/user. As a number of critics have pointed out, notably Espen J. Aarseth, the reader/user can only follow the links that the author has already scripted.

ergodic literature

The shortcomings of importing theoretical assumptions developed in the context of print into analyses of electronic media were vividly brought to light by Espen J. Aarseth's important book Cybertext: Explorations of Ergodic Literature.

," texts in which "nontrivial effort is required to allow the reader to traverse the text"

The deepest and most provocative for electronic literature is the fifth principle of "transcoding," by which Manovich means the importation of ideas, artifacts, and presuppositions from the "cultural layer" to the "computer layer" (46).

arguing that print texts also use markup language, for example, paragraphing, italics, indentation, line breaks and so forth.

Complementing studies focusing on the materiality of digital media are analyses that consider the embodied cultural, social, and ideological contexts in which computation takes place.

electronic literature can be seen as a cultural force helping to shape subjectivity in an era when networked and programmable media are catalyzing cultural, political, and economic changes with unprecedented speed.

Liu urges a coalition between the "cool" — designers, graphic artists, programmers, and other workers within the knowledge industry — and the traditional humanities, suggesting that both camps possess assets essential to cope with the complexities of the commercial interests that currently determine many aspects of how people live their everyday lives in developed societies.

The Laws of Cool: Knowledge Work and the Culture of Information

Realizing this broader possibility requires that we understand electronic literature not only as an artistic practice (though it is that, of course), but also as a site for negotiations between diverse constituencies and different kinds of expertise.

Furthermore, Koven argues that legend ostension in popular culture texts encourages audiences to engage in "some form of postpresentation debate regarding the veracity of the legends presented" (2008, 139) (note 4). This is reflected in Supernatural; most episodes engage with narratives that are usually told in their folk context as if they were "true." Vampires, werewolves, shtrigas, the Hook Man, La Llorona, witches, Robert Johnson's rumored pact with the Devil, zombies, djinn, changelings, evil clowns, and ghosts of all kinds have been featured on the show. Moreover, Sam and Dean's methods of defeating these creatures are those which folk belief likewise deems "true": salting and burning remains, performing exorcisms, helping ghosts resolve unfinished business, casting magic spells attested to by the folklore record, and so forth.

The majority of the scholarship on fan fiction, especially slash fan fiction, understands it as a way for women to intervene creatively in male-dominated pop culture texts. Fairy tales can be said to follow a parallel tradition—like fan fiction, fairy tales are a gendered genre of storytelling. As Marina Warner notes, "although male writers and collectors have dominated the production and dissemination of popular wonder tales, they often pass on women's stories from intimate or domestic milieux" (1995, 17). Postmodern feminist writers such as Angela Carter, Anne Sexton, and Emma Donoghue reworked the "old wives' stories" collected by Perrault, the Grimms, and others, seeing in them a space to articulate female experiences and desires—a move not dissimilar to those performed by fan writers, most of whom identify as female.

In other words, to traditionalist folklorists, the "folk" were best understood as "illiterate, rural, backwards peasants" (Dundes 1980, 6), who, isolated from modern culture, retained "rural, quaint, or 'backward' elements of the culture" (Toelken 1979, 5). Underpinning this condescension was the theory of "cultural evolution," a late 19th-century adaptation of the then cutting-edge theory of Darwinian evolution to fields that had nothing to do with biology. This theory, whose primary exponents were E. B. Tylor and Andrew Lang, posited that cultures, just like individual humans, proceeded in a unilinear fashion through the stages of "savagery" (infancy), "barbarism" (childhood), and finally "civilization"—with upper-class European patriarchal Christian culture representing the pinnacle of civilization (and adulthood), of course. European peasants were, naturally, barbarians, and their folklore represented traces of earlier "stages" of civilization; information on the ancestors of civilized peoples could be supplemented with studies of contemporary "savages," such as African tribespeople (Dundes 1980, 2). Lang, in particular, argued that the child is the microcosm of the culture, and therefore, logically, the stories of lower-class "barbaric" adults were suitable material—after extensive bowdlerization—for upper-class children, as they were all on the same level of development (see Smol 1996). In other words, the still-pervasive notion that folktales, especially fairy tales, are primarily "kids' stuff" owes a great deal to 19th-century racism, classism, and religious bigotry.

Endemic to this line of theorizing is the assumption that the folklorist, the one collecting and interpreting folklore, is not of the folk: the folk are always the Other. Traditional folklorists were educated bourgeois outsiders who traveled to rural areas in their own lands—or, better yet, foreign locales—since one cannot find folklore among one's own group, because only "they" have folklore—"we" have Culture

Unlike Mulder and Scully, the Winchesters, even before Mary's death, are decidedly working-class; John, prior to becoming a homeless drifter, was a mechanic. Julia M. Wright, in a perceptive article on class in the series, argues that "to hunt in Supernatural is to be immersed in the local, not the multinational-driven culture of brand recognition and globalized consumerism, and this is understood in the series as an insistently classed move" (Wright 2008, ¶15). Although Sam and Dean often behave like professional traditional folklorists—not just by doing research, but also in the fact that they are almost always geographic outsiders to the sites they visit—they are actually amateurs, autodidacts with no formal academic training in the field (note 8).

Before getting into this episode's presentation of fairy tales, some background information is in order. Fairy tales, as a genre, are considered to be a subcategory of folktales. The category of "folktale" is a broad one, defined by most folklorists as "a narrative which is related and received as a fiction or fantasy" (Oring 1986, 126), as opposed to myths or legends, both of which are making truth claims;

Within that group of stories, fairy tales are usually understood as folktales which involve magic, particularly magical acts, objects, and transformations that are not remarked upon as unusual within the story: no one in a fairy tale stops and cries, "Wait a minute, frogs don't talk!"

While initially published for scholars, the Grimms' collection achieved some success as a book for children, and subsequent editions (seven in total, with the final and most widely available edition appearing in 1857) were extensively revised by Wilhelm Grimm to better conform to changing ideas of what was appropriate for young readers. This marked a major shift in the perceived audience,

Other revisions, documented by Tatar (1987), Jack Zipes (1991, 45–70, 2002a, 2002b), and Ruth Bottigheimer (1986), reflect a systematic imposition of bourgeois mores, particularly in the realm of gender: this included curtailing the proactivity and direct speech of heroines, while increasing them for female villains (because good women are passive and silent). This was especially noteworthy in stories that featured wicked stepmothers (note 13), as the texts often, in an exception to the general rule of harsh justice, bend over backward to exonerate fathers for their failure to protect their children

This story about fairy tales—we can call it the "recovery story"—is a rescue operation, uncovering the "real" fairy tale and liberating it from Disney oppression, and theoretically also recovering the "true" voices of the "original" tellers, usually figured as female. Versions of this approach have a long history in folklore studies, which, in the early days, tended to treat all folklore as brands rescued from the fire: in this case, the "fire" destroying a once-pure folk product is not urbanization and mechanization per se, but the stultifying effects of male collectors and male-dominated popular media.

Fairy tales have absolutely been sanitized to rid them of elements deemed unacceptable, whether those elements be violence, sexuality, nonnormative gender roles, insufficient respect for authority, or whatever bugaboos moral guardians wish to prevent young readers from encountering. In addition, female tellers, writers, and collectors have absolutely been ignored, silenced, and subsumed under the totalizing category of the anonymous "folk" by male authorities—and those male authorities such as Perrault sometimes had to turn around and defend fairy tales as worthwhile, despite the perceived feminine (or even, in the case of the French female salon writers, feminist) "taint" of the genre (Warner 1995, 168–70). I merely want to point out that, in the realm of popular culture, the "recovery narrative" is a story we tell about fairy tales, and it's one that both contradicts and relies upon the existence of the "fairy tales are sweet and innocent" narrative for its power. Disney's "normative influence" is so pervasive that any literature or media that concerns itself with fairy tales must negotiate the received Disney understanding, even if only to dismiss it.

As James R. Kincaid (1998) might put it, the best thing about innocence is the threat of its violation, and roughing up a story for kids is thrilling in a way that pre-roughed-up stories for adults are not. Thus, it is unsurprising that there are a number of horror films based explicitly on fairy tales, including Snow White: A Tale of Terror, Suspiria, Freeway, and The Company of Wolves.

Dean's snide, defensive comments spring from the centuries-long linkage of fairy tales with women: the fairy tale is a gendered genre of folklore. More to the point, fairy tales often suffer the same fate as other female-identified artistic genres such as romance, "chick flicks," and fan fiction—widespread dismissal and denigration. It is no accident that the term "fairy tale" is widely used as a synonym for "childish, unrealistic fantasy"—the kind women must be discouraged from having, at all costs.

In response, Sam invokes the recovery narrative, which, in the context of the rest of the scene, suggests a problematic conclusion: it is the goriness and sexuality of fairy tales that renders them appropriate for masculine interest.

Within the show, fairy tales do not automatically possess the status of "real" folklore, but must be shown to be both "scary" and "sexy"—as the show's UK tagline promises—to be worthy of the brothers' attention.

“In Opera Aperta, Eco argued that literary texts are fields of meaning, rather than strings of meaning, that they are understood as open, internally dynamic and psychologically engaged fields. Those works of literature that limit potential understanding to a single, unequivocal line are the least rewarding, while those that are most open, most active between mind and society and line, are the most lively (and, although valorizing terminology is not his business, best)

What the preceding entry leaves out is the historical context in which Eco puts openness. He feels that this type of work, open work, is the work of his age.

A sub-category of open work is work in movement which he describes as works which “characteristically consist of unplanned or physically incomplete structural units.”

Eco sees open work as essentially political; work that is open expresses a pluralistic worldview.

Work which is calling into question its own forms and assumptions has a valuable function – it teaches us how to operate with agency within a highly mediated world.

1) Eco sees science as driving the worldview of an age, to which art responds

Forty or more years after the essays in The Open Work were written do we live in a world where the openness of our habits of interpretation makes the openness of the text less crucial?

The quest for a new and surviving literacy ought not to be the quest for a preinformatic quantity. The enemies of literacy are hiding elsewhere

the radical mistake of irresponsible deconstructionists or of critics like Stanley Fish was to believe that you can do everything you want with a text. This is blatantly false. Busa's hypertext on the Aquinas corpus is a marvelous instrument, but you cannot use it to find out a satisfactory definition of electricity.

Then there is the third possibility, the one outlined by Michael Joyce. We may conceive of hypertexts which are unlimited and infinite. Every user can add something, and you can implement a sort of jazzlike unending story. At this point the classical notion of authorship certainly disappears, and we have a new way to implement free creativity. As the author of The Open Work I can only hail such a possibility. However there is a difference between implementing the activity of producing texts and the existence of produced texts. We shall have a new culture in which there will be a difference between producing infinitely many texts and interpreting precisely a finite number of texts. That is what happens in our present culture, in which we evaluate differently a recorded performance of Beethoven's Fifth and a new instance of a New Orleans jam session

The problem is in saying that we have replaced an old thing with another one; we have both, thank God. TV zapping is an activity that has nothing to do with reading a movie

Debray has reminded us that the invention of the photograph has set painters free from the duty of imitation.

Rhetoric is basically a pedagogical discipline comprising a number of pedagogical principles, where one is the principle of imitatio. According to the imitatio principle you have to, very actively, collect an arsenal of different strategies in the process of learning how to write and present a material.

With focus on imitatio and from perspectives such as genre, intertextuality, narratology, semiotics, we discuss the creation process of fan fiction in general and slash in particular.  

Further, and crucially, fic is a form of discourse that does not just analyse canon – it has the power to add to and change it as fanon and canon mix, encouraging ongoing reinterpretation and reframing of canon within the fanon/canon ‘verse as a whole.

Reading and writing fic remains a more popular online activity than taking part in meta discussion, but are the two activities so very different?

Harry Potter

However, the various academic accounts written about yaoi have a tendency to pathologize yaoi as well as its female fans in terms of gender displacement, female sexual oppression, or sexual starvation.

how Queer Theory can assist the academic discussion of yaoi and slash, and counter the tendency to pathologize.

The British television show Torchwood has generated a vast amount of fan fiction. Among these stories are some which involve human-animal transformations.

  In this paper I intend to study how the human-animal transformations are described in a selected number of fanfic texts.

Can these stories be read as a comment on the relation between human and animal, or should the animal in this context rather be read as merely a symbol or a plot device?

Ludology, the academic study of games, has maintained a critical distinction that, fundamentally, a game cannot contain a narrative, as its focus is more oriented toward necessarily non-narrative interaction between the game and its players.  Fan fiction seems capable of exploding, or at least complicating, this claim, as the process of a writer’s active and creative engagement with a previously existing storyworld, expressed through fan fiction, appears clearly to meet the requirements both for a game,

close readings

In existing studies on fan fiction, it has been established that the majority of previous studies have been ethnographical or social in nature. Only very recently have studies on the literary aspects of fan fiction begun to emerge.

Indeed, melodrama, like many cultural forms associated with "female interests," is simultaneously omnipresent in television and yet continuously undervalued; it is that which must be avoided if a show is to be considered "quality"

Indeed, some forms of slash are completely committed to the exploration of intimacies in the most taboo, fantastic, or simply impossible situations. Wincest might be an example of one such type; certainly incest is a kind of impossible situation.

To invoke the term queer in relation to slash is to enter onto controversial ground. Even so, it is the case that, for some fans, an investment in a community and even an identity was part of the small but virulent negative reaction to "Monster," an episode whose clever and occasionally aggressive metatextual play triggered feelings of hurt, exposure, and outrage.

Concurrently, the writer Siege displays a keen understanding of the emotional investments of a large segment of Supernatural's audience, as the publisher drools over Sam and Dean's moments of angst, sighing: "It's just the best when they cry."

Clearly, there is something emotionally alluring for fans about the idea of being known.

A milder and more frequent kind of complaint invoked expectations of privacy. Despite—or because of—the understanding that Wincest is a potential violation of the sensibilities of Kripke, or of the actors who portray the characters in question, there was and is a feeling that the references to Wincest are exposing something that should remain within the community.

A diverse range of feelings was seen, in addition to the predominant response, which was cute or pretty

People were also asked what types of animals they would like to have a relationship with in the future, and why they want to. This is shown in the next slide, depending on the animals they were in relationships with now. The popular animals were similar to the ones they have, with 49% saying dogs, 29% cats, other mammals were mentioned by 8%,

A number of people personified animals,