If it is really true that one of the criteria for telling art from non-art is that the first-mentioned is not aimed at commercial exploitation, then it is necessarily so that all media art toes the line to non-art. This may in part be due to the fact that innovative media art is in part produced by artists-cum-scientists, who do a lot of research and in doing so create solutions which, beyond their artistic po­ tential, may also be considered for commercial exploitation. The interactive film, that is the participatory role of the viewer in a film’s action, is a dream still very much alive within the film business, even though it has not been commercially successful so far. Luc Courchesne has approached this topic from the point of view of the video artist and, in 1984, already presented his first exploration of this issue as the co-author of Elastic Movies. The Visitor: Living by Number is the latest work in his series of interactive videos. The navigation is achieved by the voices of the visitors, who by pronouncing numbers may influence the story-line and by their intuitive intervention may twist the plot into one or the other direction. Even if such a reduced navigation may be a small step on the way to an ideal interaction, its proximity to actual human communication presents a mile-stone along the way. Another step towards increasingly immersive design is the panoramic format of the projection, catering to the more peripheral perception of the human eye. But in the end, the artistic merit lies in the overall concept, aiming at the visitor as part of a social group.