A close cousin to Scribbled Frequencies, this work inhabits the same formal language but with the tonal values reversed — white dominates where black did before, making the composition feel more exposed, more daylit, more urgent. The vertical columns and horizontal scripted passages remain, but with greater contrast and restlessness. The looping mid-section here feels less like melody and more like a voice trying to be heard through interference. The lower arch forms, now brighter, push upward with more insistence. Together, the two works form a diptych of signal and noise — one heard in the dark, one shouted in the light.