This exploratory study was designed to examine counseling skill acquisition for Rehabilitation Counseling education students enrolled in a distance education Practicum I course. The course utilized interactive television (ITV), Desire 2 Learn (D2L), a course management system, and some formalized group meetings for curriculum delivery. Students were asked to provide two audio recordings that served as pre-test and post-test measures of counseling skills. Recordings were analyzed by two evaluators. In addition to the recordings, students completed two survey instruments, an initial demographic questionnaire and a survey of attitudes towards the use of technology in the course that was completed along with the post-test recording. A comparison of pre-test and post-test means on the audio recordings revealed no significant change in counseling skills for students enrolled in this course. There was an increase in the number of empathetic responses, clarifying statements, paraphrasing, questions and closing statements on the post-test recordings but a decrease in attending responses and opening statements. Survey findings indicated that students perceived distance education to be an effective use of their time and improved the quality of course interactions. Students also reported that technology made interacting with their peers difficult and somewhat impersonal. Approximately half of the students agreed that they were comfortable with the course technology. A majority to students indicated they would have preferred a traditional approach to learning counseling skills. These findings have implications for counseling programs currently utilizing ITV or webconferencing to deliver clinical skills courses. It may have broader implications for other clinical skills training programs delivering training via other distance education modalities.

The present elemental analysis workhorse worldwide is Inductively Coupled Plasma (ICP) Atomic Emission Spectrometry (AES) and Mass Spectrometry (MS). Due to the high power requirements, large gas consumption and the more obvious attribute, size, the ICP is tethered to the lab. Usually, samples must be collected, bottled, sometimes stabilized by acids and then shipped back to the lab for analysis (hours to days to weeks turnover rate). Due to the demand for a portable analyzer this thesis will focus on further development of microplasma devices (MPDs) for portable on-site analysis, in (near) real-time. Mini-In-Torch Vapourization (mini-ITV) is the sample introduction method for MPDs which removes the need for sample preparation (further necessitates portability). Mini-ITV introduces the sample into the MPD via electrothermal vapourization of a dry (water-free) nano- to micro- volume sample. Pneumatic nebulization, the commercially available ICP sample introduction method would extinguish the microplasma. Microplasma stability is the first issue addressed by confining the microplasma to a quartz tube (“wall-stabilized”) in hopes of a more stable MPD background emission. Once stabilized MPD conditions were found key microplasma parameters were studied including MPD power, HVac frequency, operating mode, inter-electrode distance (IED) and observation location, in hopes of improved MPD analytical performance. Microplasma excitation mechanism and maximum energy available in the microplasma for analyte are discussed. Some fundamental characteristics such as excitation temperature (Texc) and changes in atom/ion population with variation in some of the key MPD parameters were also determined.

The present elemental analysis workhorse worldwide is Inductively Coupled Plasma (ICP) Atomic Emission Spectrometry (AES) and Mass Spectrometry (MS). Due to the high power requirements, large gas consumption and the more obvious attribute, size, the ICP is tethered to the lab. Usually, samples must be collected, bottled, sometimes stabilized by acids and then shipped back to the lab for analysis (hours to days to weeks turnover rate). Due to the demand for a portable analyzer this thesis will focus on further development of microplasma devices (MPDs) for portable on-site analysis, in (near) real-time. Mini-In-Torch Vapourization (mini-ITV) is the sample introduction method for MPDs which removes the need for sample preparation (further necessitates portability). Mini-ITV introduces the sample into the MPD via electrothermal vapourization of a dry (water-free) nano- to micro- volume sample. Pneumatic nebulization, the commercially available ICP sample introduction method would extinguish the microplasma. Microplasma stability is the first issue addressed by confining the microplasma to a quartz tube (“wall-stabilized”) in hopes of a more stable MPD background emission. Once stabilized MPD conditions were found key microplasma parameters were studied including MPD power, HVac frequency, operating mode, inter-electrode distance (IED) and observation location, in hopes of improved MPD analytical performance. Microplasma excitation mechanism and maximum energy available in the microplasma for analyte are discussed. Some fundamental characteristics such as excitation temperature (Texc) and changes in atom/ion population with variation in some of the key MPD parameters were also determined.

Interactive television (iTV) is an umbrella term used to cover the convergence of television with digital media technologies such as computers, personal video recorders, game consoles, and mobile devices, enabling user interactivity. Increasingly, viewers are moving away from a "lean back" model of viewing to a more active "lean forward" one. When fully realized on a widespread scale in the United States, our current experience of watching television will be dramatically transformed. Because iTV is a new medium in its own right, however, standards for iTV programming and interaction in the United States remain undefined. This document identifies and articulates interaction design principles for interactive television programming in the United States. Chapter one presents a brief survey of the field as it stands in 2005. In chapters two and three, I categorize iTV by platforms and by persistent television genres, and present representative examples for each category. In chapter four, I provide an overview of existing design standards in related areas. Insights from chapters two, three, and four all serve to inform chapter five, in which I propose principles for iTV interaction design by looking closely at existing designs (both deployed and prototyped), conventions, and patterns of interaction. My analyses are rooted in visual culture and human-computer interaction design principles, and the design principles I offer are abstracted from the applications I analyze within this framework. Finally, in chapter six, I offer some conclusions and thoughts for future directions.

This project explores the ability to use “smart” media devices for the TV set as platforms for interactive TV shows. The research approach was research-based design where a prototype was designed, developed, and evaluated with user tests. The project used a Swedish television game show called “På spåret” and an application for tvOS on Apple TV was developed, which allow users to play along with the show. The software implements a model-view-controller architecture and uses the AVFoundation framework for playing video streams together with the UIKit framework to create interactive overlay views. The interactive elements were synchronized with the video by the usage of metadata. The user test results show that the interactive TV show gained in both entertainment and excitement among the users. Further conclusions are that interactive elements can be available both during playing or paused video and the context should decide which mode. A multimodal interface with gestures and sound as feedback seems to be a good option, based on user tests. This project also presents a solution for user input with the remote, using a virtual keyboard together with filter function. The user filtering out the input from a data set to minimize the typing of letters. User tests show that the filter solution seems to be a good option for text input in a specific domain or category of allowed input. However, for free text input, a better method is required. / Detta projekt utforskar möjligheten att använda ”smarta” mediaspelare till TV-apparaten som plattform för interaktiva TV program. Forskningsmetoden var forskningsbaserad design där en prototyp designades och utvecklades som sedan utvärderades med användartest. Projektet använde sig av TV-programmet ”På spåret” som scenario och en applikation, som tillåter användare att spela med i programmet, utvecklades till Apple TV och tvOS. Applikationen implementerade model-view-controller-arkitektur och använde sig av ramverken AVFoundation samt UIKit för att skapa interaktiva överläggsvyer på en video-vy med strömmande video. De interaktiva inslagen synkades med videon med hjälp av metadata. Användartesterna visar på att det interaktiva TV-programmet ökade både i underhållningsvärde och i exaltation hos testpersonerna. Vidare slutsatser är att interaktivitet kan implementeras både under spelande och pausad video, och vilket man väljer är det som passar videoinnehållet bäst. Multimodala interaktioner såsom gester och feedback med ljud rekommenderas baserat på användartesterna. I detta projekt presenteras också en lösning för användarinput med fjärrkontrollen. Med ett virtuellt tangentbord filtrerar användaren ut sin inputdata utifrån en bestämd datamängd, vilket minimerar antalet skrivna bokstäver. Användartester bekräftar att filterlösningen är ett bra alternativ för inmatning i en specifik kategori av tillåten input. För helt fri textinmatning behövs dock bättre metoder.

In this Thesis, I systematize, clarify, and expand the current theory of emotion based on the principles of predictive processing-the interoceptive inference view of emotion-so as to show the following: (1) as it stands, this view is problematic. (2) Once expanded, the view in question can deal with its more pressing problems, and it compares favourably to competing accounts. Thus, the interoceptive inference view of emotion stands out as a plausible theory of emotion. According to the predictive processing (PP) framework, all what the brain does, in all its functions, is to minimize its precision-weighted prediction error (PE) (Clark, 2013, 2016; Hohwy, 2013). Roughly, PE consist in the difference between the sensory signals expected (and generated) from the top-down and the actual, incoming sensory signals. Now, in the PP framework, visual percepts are formed by minimizing visual PE in a specific manner: via visual perceptual inference. That is, the brain forms visual percepts in a top-down fashion by predicting its incoming lower-level sensory signals from higher-level models of the likely (hidden) causes of those visual signals. Such models can be seen as putting forward content-specifying hypotheses about the object or event responsible for triggering incoming sensory activity. A contentful percept is formed once a certain hypothesis achieves to successfully match, and thus supress, current lower-level sensory signals. In the interoceptive inference approach to interoception (Seth, 2013, 2015), the principles of PP have been extended to account for interoception, i.e., the perception of our homeostatic, physiological condition. Just as perception in the visual domain arises via visual perceptual inference, the interoceptive inference approach holds that perception of the inner, physiological milieu arises via interoceptive perceptual inference. Now, what might be called the interoceptive inference theory of valence (ITV) holds that the interoceptive inference approach can be used so as to account for subjective feeling states in general, i.e., mental states that feel good or bad-i.e., valenced mental states. According to ITV, affective valence arises by way of interoceptive perceptual inference. On the other hand, what might be called the interoceptive inference view of emotion (IIE) holds that the interoceptive inference approach can be used so as to account for emotions per se (e.g., fear, anger, joy). More precisely, IIE holds that, in direct analogy to the way in which visual percepts are formed, emotions arise from interoceptive predictions of the causes of current interoceptive afferents. In other words, emotions per se amount to interceptive percepts formed via higher-level, content-specifying emotion hypotheses. In this Thesis, I aim to systematize, clarify, and expand the interoceptive inference approach to interoception, in order to show that: (1) contrary to non-sensory theories of affective valence, valence is indeed constituted by interoceptive perceptions, and that interoceptive percepts do arise via interoceptive perceptual inference. Therefore, ITV holds. (2) Considering that IIE exhibits problematic assumptions, it should be amended. In this respect, I will argue that emotions do not arise via interoceptive perceptual inference (as IIE claims), since this assumes that there must be regularities pertaining to emotion in the physiological domain. I will suggest that emotions arise instead by minimizing interoceptive PE in another fashion. That is, emotions arise via external interoceptive active inference: by sampling and modifying the external environment in order to change an already formed interoceptive percept (which has been formed via interoceptive perceptual inference). That is, emotions are specific strategies for regulating affective valence. More precisely, I will defend the view that a certain emotion E amounts to a specific strategy for minimizing interoceptive PE by way of a specific set of stored knowledge of the counterfactual relations that obtain between (possible) actions and its prospective interoceptive, sensory consequences ("if I act in this manner, interoceptive signals should evolve in such-and-such way"). An emotion arises when such knowledge is applied in order to regulate valence.

The study concerns the inter-relationship between media reform and civil society in Thailand between 1995-2000. It examines case studies of two selected television organisations - the production company Watchdog and the broadcast channel Independent Television (iTV) - and analyses their internal production decision-making processes, their public affairs programs and their urban and rural audiences. Debates about civil society and media reform between 1995-2000 influenced the government's media regulation policies to the extent that more attention was paid to media freedom as intended by Articles 39, 40 and 41 in the 1997 Constitution. Non-governmental Organisations (NGOs) took an important role in monitoring government policies on media reform under the Constitution and issues about media re-regulation and ownership were canvassed, although the drawn out National Broadcasting Commission (NBC) selecting process delayed media reform. The transparency of the selection process of the NBC has been widely debated among NGOs, media scholars and media professionals. Most Thai public affairs programs in the period were shown on iTV, Channel 9 and Channel 11 and were in the minority compared with entertainment. Thai television stations normally screened entertainment programs to make profits, while they usually would not allow producers to air open debates critical of the government. Also, public affairs programs that were screened often were given inappropriate airtimes. Watchdog and iTV treated public affairs programs in different ways. Watchdog, originating from an NCO, the Creative Media Foundation, emphasized public participation in local community-oriented programs - such as Chirmsak Pinthong's Lan Ban Lan Muang - which exemplified civic journalism on television. In contrast, iTV was created in 1996 to meet the promise made in 1992 after Black May that a non-state commercial channel would be introduced. It was organised by journalists from the Nation Multimedia Company and focused on current national news issues which seldom allowed public participation. Both organisations attempted to maintain their professionalism despite political and business pressures. Chirmsak and Watchdog were accused of bias favoring the Democrat Party and often encountered program censorship. ITV staff, especially in the news department led by Suthichai Yoon and Thepchai Yong, unsuccessful fought. Shin Corps 2000-2001 takeover of the station that had been brought on by the financial problems of iTV and the Siam Commercial Bank after the economic crisis of 1997. There were three main concepts of civil society in the period 1997-2000 - Communitarianism, Self-sufficiency and Good Governance. These ideas were advanced by reformers such as Dr. Prawase Wasi and Thirayut Boonme, and were reinforced by His Majesty King Bhumibol's December 1997 Birthday Speech that endorsed the ideal of national self-sufficiency. Thai civil society debates often were involved with rural people, while the 8th National Development Plan and the Chuan government's policy on decentralisation aimed to strengthen the rural sector as an antidote to the 1997 crisis. However, the aims of civil society reformers were at times too idealistic and were viewed with skepticism by some middle class urban critics. The continuing influence of electoral corruption in rural areas also obstructed civil society ideals, while decentralisation and community development still maintained a top-down way of development and depended on government support. These difficulties in implementing pro-civil society reforms in the political process were paralleled by difficulties in developing public interest programs on Thai television. Current affairs and investigative journalism programs, such as iTV Talk, Tod Rahad and Krong Satanakarn, did not often open public discussion on the programs. Rather, the regular format of panel discussions, consisting of elites and some celebrities, tended to focus on national topics rather than local issues. The hosts of many of these public affairs programs depended on their own celebrities status and tended to invite well-known guests, whereas community-oriented programs such as Lan Ban Lan Muang and Tid Ban Tang Muang promoted civic journalism and deliberative democracy more effectively. The latter programs allowed the public to participate in the programs as the main actors and even proposed their own agendas. However, a limited study of three audience focus groups - an expert urban group, a young middle class urban group, and a rural group - found considerable scepticism about the possibility of developing public interest awareness via television programs. The expert and young middle class groups criticised both the hosts and the style of a selection of current affairs programs, which they thought were too serious and also biased. Some also considered that current affairs programs were a platform for the people in power rather than providing a space for the public. Therefore, they rarely watched them. In contrast, the rural group who participated in Lan Ban Lan Muang, believed that the program was useful for development communication. The audience gained information about other communities and used the media as the means to publicise their own community. However, they rarely watched it because the airtime of the program was the same as a popular entertainment program on Channel 3. The researcher used qualitative research methods to collect data, including indepth interviews, focus groups, participant observation, program recording and document analysis. Theoretically, the study has attempted to combine the approaches of western and Thai scholars. The main approach used to explain the relationship between the media and civil society is media and public sphere theory, as introduced by Habermas, and combined with the perspectives on media re-regulation of the Thai scholar Ubonrat Siriyusak. In terms of analysing Watchdog and iTV, the researcher used political economy perspectives to understand decision-making in both organisations. In addition, an organisational culture approach was used to explore conflicts of interest that arose in both organisations due to their different sub-cultures. Civic journalism, framing theory and development communication theory were further employed to examine the television programs and their roles in promoting the public interest and development projects, while the audience groups were considered in the context of participatory communication theory and reception theory.

This thesis uncovers and analyses the relationship between forms of talk on British television between 1970-1990, and the uneven transformations in gender politics that occurred in this period, which encompasses both the second wave feminist movement and the rise of neoliberal politics. It presents five historical case studies of talk-based television programmes from across this time period: No Man’s Land (Associated Television/ITV, 1973), Good Afternoon! (Thames Television/ITV, 1971-1984), Pictures of Women: Sexuality (Channel 4, 1984), Watch the Woman (Channel 4, 1985), and Question Time (BBC One, 1979-present). These case studies offer a deliberate selection of television texts that differ according to their institutional contexts; their position in the schedules; their status in existing broadcasting histories; their discursive arrangements; and their modes of address. The thesis seeks to consider how the communicative ethos of television talk has been gendered in three key ways: at the level of production - in the sense of when, how, and why television spaces have been opened up for gendered forms of talk in relationship to wider shifts in gender politics; at the level of the text - in terms of how the discursive arrangements of talk-based programmes have worked to include, exclude, legitimise or disavow women’s voices; and at the level of critical reception - in the sense of how television talk has been evaluated in profoundly gendered terms. The thesis is methodologically innovative because it theorises gendered forms of television talk in relationship to histories of television production, as well as to broader political, cultural and gender histories. It carries out important empirical ‘recovery work’ of hidden women’s television histories through the presentation of original archival research. It also presents theoretical work, which re-evaluates the distinctive communicative ethos of television – or its “sociability” in light of feminist theories of language, gender and power. Moreover, it sheds some historical light on why the institutional parameters of television still delimit the available spaces for women's speech.

隨著傳播、網路、資訊等科技等發展，電視服務已可邁向互動電視服務。然而，因於互動電視服務不僅涉及科技、商業、政策等層面，更因其具有電視服務的大眾傳播特點，而影響社會大眾、法律規範，並促使商業運作的改變，故互動電視服務的研究，可以非常廣泛與深入。然而本研究為促研究聚焦而著力電視傳播產業投入互動電視觀看型、購物頻道型與商務型服務時，所需考量的觀念面和營運面之探討。 其中，可發現電視傳播產業提供互動電視觀看型、購物頻道型與商務型服務，具有的共同點：業者需具有的能力，包含提供互動電視轉播、附增與插播內容與服務等以滿足用戶觀看、交流與交易所需的前端與後端能力、對訂戶端收視情況與收視意見的回傳資料直接取得與運用的能力；而用戶需具有可與接收業者內容與其交流的家庭終端設備與操作設備。 互動電視服務與目前多頻道電視服務異同處是電視傳播產業業者在運作互動電視服務時應考量的要項。本研究發現可以延伸多頻道電視市場之市場結構－行為－績效而建構電視傳播產業運作互動電視服務時應考量的項目與架構。另外，多頻道電視服務演變為互動電視服務是需要時間；電視傳播產業業者應有互動電視服務市場開創期（即多頻道電視服務為主，而互動電視服務為副的時期）與互動電視服務市場競爭期（即互動電視服務普及化的時期）之觀念。業者身處於市場開創期之策略思維與身處於市場競爭期之策略思維應有異。 而業者投入互動電視觀看型服務，應了解此型互動電視服務乃著重提供用戶不涉及商務交易之觀看及交流的內容與服務，則拓展用戶的閱聽範圍與收視便利性是其著力點；用戶於節目收視面與廣告效力面的回傳資料是可幫助業者了解用戶的收視而利於營運的改進。至於探討電視傳播產業投入此型互動電視服務的市場結構－行為－績效分析，可以劉幼琍(1997)所提的多頻道電視市場結構－行為－績效分析為基礎，但須增加「資訊科技」以表達對直接互動層次與附增內容範疇等直接互動化層面之重視。而個別公司投入績效之探討，於開創期時，可從扮演互動電視服務先驅者角色之權威性優勢、附加互動電視服務而建立有線電視服務之差異化優勢、或以掌握訂戶直接回應而強化有線電視服務之資訊性優勢等探討之；於競爭期時，可從公司於以訂戶收視為終端、以企業廣告為終端、以回傳資料應用為終端等價值鏈之角度探討之。 而業者投入互動電視購物頻道型服務，應了解此型互動電視服務乃著重以提供用戶電視線上購物的內容與服務，則提供吸引用戶進行電視線上購物的內容及便利性是其著力點，亦即完善提供吸引用戶購物之前端內容以及購物前、購物時與購物後的（包括物流、客服等）商務流程，是提供此型互動電視服務的要件。而用戶呈現於購物前反應與購物後意見的回傳資料，可助業者對商品挑選、流程設計、服務內容等營運層面的改進。至於探討電視傳播產業投入此型互動電視服務的市場結構－行為－績效分析，可以互動電視觀看型服務市場結構－行為－績效分析為前端內容基礎，並於節目製作項目納入電視購物服務內容分析之考量，以表達對電視購物情境設計的重視，再加上流通業與Scherer and Ross(1990)產業研究的結構-行為-績效模型發展後端買賣執行的市場結構－行為－績效分析。而個別公司投入績效之探討，可以與其相近的線上零售商 (Afuah and Tucci,2003) 為探討方向。 而業者投入互動電視商務型服務，應了解此型互動電視服務乃著重提供用戶與加盟的第三方業者進行電視線上交流或交易的內容與服務為主，則拓展用戶進行電視商務的便利性是其著力點，即互動電視商務平台經營商須著重提供吸引並完善導引用戶到加盟的第三方業者視訊網站的（互動電視）內容/服務，而購物前、購物時與購物後的商務流程是加盟的第三方業者所需注意。而用戶呈現於要求導引前的回傳資料有助業者改進包含導引服務的內容與服務、導引後的反應及與加盟的第三方業者交易之回傳資料會影響業者與第三方業者加盟條件，故皆須注意、用戶於節目收視面與廣告效力面的回傳資料，可助業者對商品挑選、流程設計、服務內容等營運層面的改進。至於探討電視傳播產業投入此型互動電視服務的市場結構－行為－績效分析，可以互動電視觀看型服務市場結構－行為－績效分析為前端內容基礎，但部份項目須加入擔任導引服務提供者的考量，並須加上「入口加值服務」項目，以表達對導引服務提供者的注重。而個別公司投入互動電視商務平台經營商績效之探討，可以訂戶收視為終端或以企業廣告為終端等兩種價值鏈斟酌追求權威性、差異化或低成本策略為探討方向。 本研究期藉由對電視傳播產業投入互動電視觀看型、電視購物型、商務型服務運作的探討，而鼓勵資訊與電視傳播產業投入互動電視服務，以利互動電視服務的實務營運，進而發展電視商務，開創另一商務高峰，即是本研究目前貢獻。 對後續的研究建議，從研究內容與研究方法提出。在研究內容方面，一則可深入互動電視服務運作以外層面的探討，如與收入、投資、產業合作等層面，以利互動電視服務的實務發展。二則可深入其他互動電視服務類型的探討，如Tsaih et al. (2005)所提的互動電視網際網路型服務等類型，以促研究的完整。在研究方法方面，一則可以個案方式進行研究，而以第一手的實務資料擴大或深入研究。二則可以量化方式進行研究，而以數據資料的佐證、統計檢定的類推、真偽假說的實證等量化資料而強化研究。 / The development of information and televisual technology has led to a nascent market for interactive TV (hereafter, itv ) service. Since the provision of itv involves numerous sectors, this study discusses the different aspects of itv service including viewing, shopping and business service. In this study, the performance of individual service provider is analyzed at two different phases: the phase of development and the phase of competition. The study of the former focuses on pioneering authority, service differentiation and information, whereas study of the latter examines the value chain of user-viewing, business-advertising and data collection. The study shows that providers of itv shopping channel service are concerned with creating attractive content and managing easy shopping service. In analyzing the market structure, conduct and performance, this study includes the “TV shopping service content” and “design of TV-shopping surroundings” factors in investigation of the front end, and utilizes the model of market structure and economic performance of Scherer and Ross (1990) for examination of the back end. The study demonstrates that providers of business service are concerned with enhancing the content and improving communication service for users and third parties. Market research on viewing and communication patterns can offer significant insights for service providers. In analyzing market structure, conduct and performance, this study builds upon the model of front end research with the addition of “portal service” with particular emphasis on the factor of “guidance”. The performance of individual provider is assessed by examining the value chain of user-viewing, business-advertising and data collection. Issues of authority, differentiation and operational costs are taken into consideration.

Made available in DSpace on 2016-04-26T18:14:39Z (GMT). No. of bitstreams: 1 TV Digital, jogos e narrativas interativas na TVi - Joao Ranhel.pdf: 1240500 bytes, checksum: 4f42fe7170e002d6b0ade972220e94fb (MD5) Previous issue date: 2005-12-19 / This thesis exposes a survey of new theories, researches and new approaches in the areas of narratology and ludology. It also exposes investigations on feasibility of using the knowledge acquired in such areas in developing new interactive contents for Digital Interactive TV (iTV). Initially the text shows an objective description of technical and operational aspects of the iTV. In the sequence, the narratologists and ludologists propositions are discussed. Narratology is a line of thought that studies the possibilities of interactive dramas a narrative structure in which the user can immerse as a character that he/she plays in first-person. Ludology is a line of thought that studies computer games virtual environments and worlds where the user can simulate, explore, face challenges, etc. The present research tries to survey the most relevant theoretical approaches and propositions from both areas narratology and ludology. Based on such propositions and theories we evaluate the possibility of introducing interactive dramas, new forms of games and new interactive programs in the iTV environment. / A presente pesquisa expõe um levantamento sobre recentes teorias, pesquisas e abordagens nas áreas da narratologia e da ludologia. Baseado nas propostas e teorias mais relevantes de ambas as áreas, analisa-se as possibilidades de introdução de narrativas interativas, de novas formas de jogos e de novos aplicativos televisuais na TV Digital Interativa (TVi). Na primeira parte, uma descrição objetiva sobre os aspectos técnicos e operacionais da TVi é apresentada. Na seqüência são mostradas as propostas narratológicas. Narratologia é uma linha de pensamento que estuda a criação de dramas interativos estruturas narrativas nas quais o usuário pode imergir para vivenciar um papel em primeira-pessoa. Na terceira parte da pesquisa as propostas ludológicas são abordadas. Ludologia é uma linha de pensamento que estuda os jogos computacionais estruturas de mundos virtuais nos quais o usuário pode simular situações, explorar mundos, enfrentar desafios, etc. Dessa forma, o presente trabalho busca outras formas interativas de expressão no novo meio que surge, a TVi.