Robak creates hyper dense digital environments saturated with corporate branding, internet ephemera, and glitchy visual noise that mirrors the terminal online aesthetic and algorithmic decay found in Pathology Loop #46. His work similarly treats digital culture as a kind of fossilised residue, assembling fragments of commercial and web imagery into overwhelming single frame compositions.

Rafman excavates the psychological wreckage of internet culture through collaged digital imagery drawn from online subcultures, conspiracy spaces, and cyberpunk aesthetics, closely paralleling Ball's assembling of UFO headlines, anime figures, and corporate iconography into a single frame of cultural entropy. Both artists treat the internet as a pathological archive of identity collapse and post human detritus.

Ludy works at the intersection of post internet aesthetics and digital collage, building layered visual environments where found imagery, glitch textures, and online cultural fragments dissolve into one another in ways that echo the hyper online sensibility and algorithmic decay central to Pathology Loop #46. Her practice shares Ball's treatment of digital space as a site of cultural and identity fragmentation.