2016 年 21 巻 3 号 p. 423-436
An actor seems to assert the traditions that it is related to, occasionally. This paper analyses the culturality of the audience behaviour of a trilogy. The trilogy is a kind of interactive space. Culturality is multifaceted and waxes symbolic at times, as do traditional behaviour. It has provisionally three types: referential culturality, analogous one and habitual one. As a boundless, or self-critically trans-active concept, culturality enables one's elastic understanding of cultures. It is a kind of wave, rather than a substance, transmitted and inherited, or interfered, through the agency of history. Through the analysis of culturality carried out, one could point out the cultural linkages between those contemporaneous and traditions transmitted, like hyperlinks between a time and another time. Those engaged seemed to be often culturally self-assertive like Narcissus. However, they were not only so. That is, as a result of the analysis, it was discovered that the referential culturality that refers to a tradition may overcome seemingly existing cultural barriers by fusing any culturalities belong to different traditions like a performance with a meta-culturally synthetic behaviour, or self-critically and trans-actively symbolic action. As such concept, culturality could be applied to the behavioural observation of relationships emergent in the fields from anthropology to zoology, as well as techno-cultural ecology/-nomy and practice, such as interaction design. With the culturality, human beings and their behaviour are neither anonymous nor definite anymore, but a sort of heir, from which designers and observers of a paradigm can take account from now on.