跨媒介敘事者需依「互媒」（intermediality）貫串故事節點，運用不同類型呈現故事，盼激發閱聽人跨媒介參與。本研究以繪本改編為動畫為例，理解互媒與「美感傳播」關聯。閱聽人跨媒介參與，需以「互媒詮釋」（intermedial interpretation）及「否定性」（negativity）方能調整「既定視域」。以「類型互文聯想」為例，閱聽人需翻轉繪本原作平面畫風之既定想像，適應動畫多維度呈現形式。以「相互指涉互文聯想」為例，閱聽人可因互媒詮釋而自繪本圖文引發聽覺想像，需依敘事知識等「互媒」基礎而調整既定視域。

閱聽人跨媒介賞析圖像敘事後，可強化視覺聯想而享感官體驗；也可因「否定性」而辨證思考改編動機，體現智性愉悅。閱聽人跨媒介參與可因「互媒詮釋」，串接故事節點而強化美感反應。

A transmedia storyteller employs intermediality to connect a series of story nodes, in which the story is presented in various forms to arouse transmedia participation of audiences. Using the animations adapted from picturebooks as examples, this study aimed to determine the association between intermediality and aesthetic communication. Intermedial interpretation and negativity must be involved to adjust the horizons of the audience engaged in transmedia participation. For example, with the negativity of genre expectation, audiences must reverse their current imagination for the 2-dimensional illustrations presented in the original picturebooks to adapt to the images presented in 3-dimensional animations. In the example of the negativity of sensory associations (the five senses), intermedial interpretation of the texts and illustrations in the picturebooks arouses the audience’s auditory association, in which the audience must adjust their expectations according to the type of intermedia such as communication knowledge. As in the example of a narrative expectation, most audiences anticipate that animations will extend the original images and plots in the picturebooks. If an audience member’s expectations differ from the narrative expectation, then his or her established horizon must be adjusted through intermedial knowledge. When the audience appreciates the pictorial narrative through transmedia participation, their visual associations can be enhanced and thus they might enjoy the sensory experience. Because of negativity, audiences could dialectically reflect on the motivation to adapt picturebooks into an animation and thus experience intellectual pleasure. For audiences engaged in transmedia participation, their aesthetic responses could be enhanced because the story nodes are connected through intermedial interpretation.