The first thing you notice about Frequencies is the sheer proliferation of categories, though they clearly are not categories in either the Hegelian or the quotidian sense. They are more like soundings into the depths of a shared darkness or lenses through which we might glimpse an otherwise blinding luminescence. Words cluster inside the frame of the screen, that ubiquitous medium through which we all present ourselves to ourselves. At the top is an index. On the side is a cloud of things called “resonances” and “wavelengths,” both terms nodding to Deleuzian technologies of circulation. And within we find an even 100 musings.