Like previous pages, this one is divided into six near-square panels, stacked in a 2×3 arrangement. However, a layered illegible tangle of multiple texts are written at a steep angle in cursive handwriting, dominating the lower right, diagonal half of the page. This mass of text has smaller, square-ish panels overlaid in an alternating pattern. On this page, thesecondary panel grid halves the panel size horizontally and vertically. 

In the lower half of the top left panel, the argument from the previous page is continued: "YOU HAVE TO BUILD IT AS YOU SCALE IT:" "BUILD IT" and "SCALE IT" are written at double size to the other, plain handwritten text.
A header in outlined display style at the top of the panel, "STUDY", is juxtaposed by a two-headed arrow to a similar header, "FRICTION", in the lower right of the righthand panel in the same row, where the overlapping cursive texts contrast the regular layout.

In the lefthand panel of the middle row, a lower arm and hand is drawn in black outline. The hand holds a pen, and it is implied by the placement of the hand relative to the cursive mass of text that this is the authorial hand composing the fricative tangle.
Above the hand is a parenthetical injection in cursive handwriting,
"(knowledge production)".

Continuing down, in the lower lefthand panel almost consumed by the mass of text, is the word "and" in horizontal, cursive text on the remaining white background. This path continues into the bottommost, horizontal series of smaller panels:
"find the OPENINGS + HOLES", where the O in "HOLES" is shaped to indicate a circular hole in a horizontal plane. The sentence ends in another panel of similar, smaller size, at the bottom right corner of the page. Three curved lines of plain handwriting are distributed over the panel:
"AND GET LOST
IN ITS CIRCUITS
ALLEYWAYS &c"

The first and last line segments intersect around the E in "GET" and "ALLEYWAYS". "&c" ends up on the outside of the panel borders, in the page margin.

Another line of thought is pursued under the "FRICTION" header: Right of centre in the middle row, corresponding in height to the parenthetical on the left, and superimposed on the tangled text field in white display text, "IS THE MATTER"
This continues in a bordered, smaller panel at lower riht of that row, with fat black display text on white background, "THICK OR DENSE". Only "OR" is in plain handwriting.
In the two smaller panels in the row directly below, still right of centre, and again with the panel break indicated by a vertical bar:
"is it | AN OBSTACLE?"
The cursive "is it" on white background  is followed by a line from left to right, seeming to bounce off the vertical panel border and continues in a counterclockwise 90° movement as if caught by gravity in lieu of forward momentum.
"AN OBSTACLE" is again in white display style on layered, cursive text.

The layered, cursive texts are pertinent notes on the chapter itself, but aren't human legible in their entirety in their visual representation. For the sake of accessibility, they are instead reproduced here as three consecutive parts with a preamble:

"A few short notes on the ergodics of this chapter: It seems natural, or at least idiosyncratic, to embed this in the tangle that visualises the fricative resistance involved in performing, disseminating, and absorbing studies in any form. By virtue of its presentation, this will primarily be legible through the accessibility layer, but even in that property ensure that no component of the chapter is without function or meaning.
I. Initial intentions and work process. In the earliest development stage of this visual essay, I proposed to leave sketches, edits and notations visible in the final version. This was meant to render visible my thought and work process on the page, but did not seem feasible as the work progressed. For one thing, a substantial part of the visuals were initially accumulated in my sketchbook. This included many pages and meandering enquiries that could not possibly fit into the physical restrictions on a book chapter. As a result, a lot of the work involved could not possibly be part of the evidence however formative they indirectly were to the finished version. Instead I have collected and added to the selected sketchbook work in an assemblage for the format of the Creative Media Studies anthology, and redrawn the majority of the work for print. This iterative process is one that I have otherwise moved away from in favour of more spontaneous artwork, and the finishing step, here, is not one that I felt added fruitfully to the creative process. It is perhaps my only regret in the work with this chapter that I did not realise how tedious and contradictory to my argument this approach would be."