本文對黑爾滋（N. Katherine Hayles）的媒體交互作用（intermediation）、波爾特及古魯森（Jay David Bolter and Richard Grusin）的再媒體化（remediation）分別進行評論，之後提出形式交織（interformation），嘗試探索上述兩種媒體理論未能涵蓋的面向。媒體交互作用和再媒體化兩種理論皆以媒體作為比較研究的基礎，試圖解讀新舊媒體混合、融合、整合等各式結合的現象與意義，雖具說服力，但也有侷限，譬如說，黑爾滋及波爾特等的詮釋對象皆偏重媒體的再現（representation）形式，對媒體的模擬（simulation）形式則未深入剖析。再現為舊媒體的表現主力，模擬為新媒體的優勢，或大而化之，我們可將模擬與再現分別視為新舊媒體的核心表現形式（form of expression）。再現和模擬在數位作品中有著不同層次的結合現象，我們將這些不同的結合現象統稱為交織形式（interform）。本文的形式交織討論將避開新與舊、類比與數位的媒體比較研究，改以表現形式為焦點。另外，本文進一步將數位模擬細分為內在程序（inner procedure）和外在程序（outer procedure）兩款形式，並引例驗證數位作品的程序性（procedurality

The paper explores interformation, or how representation and simulation interlace in digital literary works. Representation is the core form of expression for old media while simulation is primary in new media. Unraveling how these two means of expression intertwine in digital works is a task of digging deeper into a poetic dimension only lightly discussed in new media theories. This excavation steps away from comparative approaches to the issues of old and new media, of analog and digital media, domineeringly prevalent in new media theories such as N. Katherine Hayles’s “intermediation” and Jay David Bolter and Richard Grusin’s “remediation.” Both of these theories, founded on the differentiation of medial properties, attempt to lay bare assorted ways that old and new media mix, combine, or integrate with each other in a work. Mostly focusing on forms of representation, their discussions shed little light on the understanding of forms of simulation in digital works. To address this deficiency, the paper places emphasis on the two forms of expression and their interforming, instead of on medial properties and their intermediating or remediating. The paper further categorizes forms of simulation into two types: inner procedure and outer procedure. Thereafter, works are cited and analyzed to exemplify the procedurality embedded in them.