Rozendaal creates post-internet digital works that examine the aesthetic language of screens and compression artifacts, often transforming simple natural or abstract imagery into meditations on how digital mediation reshapes perception. Like Arcangel, his practice lives at the intersection of net art conceptualism and minimalist visual output.

Guyton uses inkjet printers and digital processes to intentionally corrupt and degrade imagery, producing works where technological malfunction and data artifacts become the primary aesthetic content. His exploration of how machine errors transform landscape and representational subjects closely parallels Arcangels investigation of compression and information loss.

Rafman works within a post-internet and new media framework, sourcing and transforming digitally mediated landscapes to examine how technology filters and distorts our experience of the natural world. His conceptual focus on the tension between organic subjects and their digital degradation mirrors the core concerns of On Compression / Lakes.