The primary concern of Becoming One with the Screen is the question of the integration of experience into the

general unfolding of actuality. Originally, the concern arose from questions about spectatorship and the relation between the viewer and the spectacle on the screen but my research eventually gave way to a more philosophical engagement with the questions brought up in thinking about relation. I had conceived to take on the challenge presented by Alfred North Whitehead in Process and Reality (1978) of elucidating the meaning of the phrase the flux of things in terms of spectatorship in the cinema. Whitehead considers the task of elucidating this phrase as one chief task of metaphysics (Whitehead 1978: 208) and when I read the texts that would inform this kind of thought, I came to the realization that cinematic spectatorship was a subsidiary to understanding it generally. However, cinematic spectatorship provides a rich and interesting field of study to examine experience as processual flux if anything because of the contradictory dynamics inherent in cinema as an immersive experiential milieu where the interplay between a stop-and-go mechanical process and a supposedly static subject produces moving images constitutive of movement of thought.