About a year ago, R. R. Reno used the New Yorker's cartoon figurehead, with his
characteristic top hat and monocle, as a caricature of those intellectuals in the late sixties and early seventies who failed to see the significance of the
cultural revolution occurring all
around them.
However, by making conservationists more aware of how people construct anthropomorphic meanings
around species and how they engage with species and attribute value to their
characteristics — e.g. people may attribute personhood or emotions to species that they play with, such as pets or even livestock — they can create conservation programmes which speak to people through their
cultural expectations and emotional connections.