This page is divided into a 4×6 panel grid, continuing the smaller panel size from previous and foregoing the "gutter" margins between panels. Instead, the panels alternate in a chequer pattern between the continuous layers of deliberately obscured, cursive text notes, and pasted-in, torn pseudo-squares of paper with plain handwriting.
In the following we will start by dealing with the latter, leaving the continued cursive notes for the end of this page:

Captions in the top row, both in plain handwriting, partially obscured by white acrylic splotches:
"YOU
ARE
HERE"
and
"MAKING
THIS
MEDIUM"
In the latter panel, "MAK" and "G" are written in a fainter tone, creating a double entendre, "you are here, in this medium".

A triptych of panels begin in the second row with two black line drawings depicting a forest of stright, vertical tree trunks stretching into the distance. Horizontally through both panels runs one line of text, broken by trees in the foreground, as well as by the gap between panels (the latter marked here with a vertical bar):
"IS IT BETWEEN THE | TREES OR". Unlike the preceding, plainly handwritten words, "OR" is superimposed in white with black outline on the bark of a tree in extreme foreground of the image.
This sentence concludes two rows directly down, in another black ink drawing depicting the roots of a tree in white against black soil. "BETWEEN THEIR ROOTS" is written in black, plain handwriting against the white of the root system

The panels of the third row read, respectively, in plain handwriting:
"YOU
ARE
HERE"
(with seven short arrows poiinting out from the text, indicating the whole of the page, or chapter)
and
"WHERE
WERE
WE?"
The first statement in black on bright grey; the second in white on dark grey.

The leftmost panel in row four shows a splotch of bright grey paint on white paper, with darker tones within. One of those form the O in the plain handwritten "COLLISION".

The captions in the fifth row are written in the same plain style as others on this page. However, these paper scraps are distressed with black ink and white acrylic marks. 
While bothe are indicated to read
"YOU
ARE
HERE",
the rightmost caption is obscured in part by a vertical white stroke, leaving it instead
"YO
AR
HEI".

In the bottom row, a single word caption is divided across two panels:
"CO | CREATION" in plain handwriting.
Like the paper fragments in the row above, the far left panel has ink traces, and an tilted, but roughly straight angled corner of a negative space in the lower right, in which the prefix "CO" is written.

Accessibiity contents of the cursive tangle continues:
"I. Uncomics. An underlying agenda for me in constructing this branching and ambiguously delivered enquiry is only ostensibly dealing with (visual) ergodic literature. That is merely my coded phrasing that allows me to demonstrate the complex potentialities of non-linear comics, as have been my main field of research and interest for the better part of a decade. My main concern has therefore been to employ advanced comics language that adds to the manner in which the argument is delivered and received. Even in a mostly textual form with a minimum of pictorial information, which is ironical since I have insisted for many years that comics are a visual form of expression and that a text-based one would be of so little interest as to be irrelevant. In working out this particular book chapter I have found and tested some initial ways that I might prove my former standpoint wrong. It is, however, still constituent elements of comics that shape that message: the visual layout and relational arrangement of information, the structure into which that information is placed, and the significant breaks and gaps that support the assemblage of panels on each page. On every page are examples of text paths branching and intersecting to challenge the conventional, unilinear reading direction found in both prose and comics. This is theory I have argued at length concerning abstract and asemic comics — and that indeed grew as speculation from my own creative practice in the same fields. It has therefore been a very satisfying exercise to put the same theory back into practice in another, more academic mode, providing yet again a friction, or ergodic resistance, to transform it yet again. I feel that this is a valuable addition to the field of uncomics, which remains ripe for practical, creative as well as theoretical research. I would of course be remiss not to cite Lynda Barry and Nick Sousanis for the inspiration their respective comics (and adjacent) works have lent to the development of this essay."