Kress and van Leeuwen (2021) describe the "coded" image as simple, abstract, and a deliberate departure from naturalistic representation. It is characterized by reduced detail, a stylized and conventional approach, and the absence of depth, shadows, or subtle color nuances.

According to Staff (2016) Contemporary projection mapping can be understood as a subset within the expansive realm of new media art. Its emergence is rooted in the hybridization of moving images across cinema, video, and installation-based practices. As a medium, projection mapping blends traditional forms of visual storytelling with modern technologies, enabling artists to create immersive and dynamic experiences that challenge the boundaries of space and perception.

Betancourt (2017) touches on the formal elements of post-digital aesthetics and the context of glitches.

Nam June Paik is one of the groundbreaking contemporary artist for Bonham-Carter and Hodge (2013). He is widely recognized as the pioneering video artist and a critic of emerging technologies. Notably, Paik coined the term "information superhighway" as early as 1974, foreseeing the transformative impact of digital communication. Throughout his career, Paik was dedicated to expanding the possibilities of video and the moving image as artistic mediums, constantly pushing the boundaries of how electronic imagery could be used in creative expression. His decades-long experimentation with new media laid the foundation for the integration of technology into contemporary art, making him a foundational figure in the development of digital and video art as we know it today.

Her art practice is deeply rooted in a timeless exploration of connection, bridging the spiritual, physical, and technological realms. She underscores the synchronicities between indigenous knowledge and the land, suggesting that these connections transcend temporal boundaries and remain vital in the present. McCarthy challenges the notion that indigenous art and technology are strictly rooted in ancient methods, proposing instead that new technologies can expand our understanding of indigenous traditions.

Lovejoy (1989) mentioned the work of Warren Lehrer as significant in computer art making. According to Davids (1988), Warren Lehrer's GRRRHHHH: A Study of Social Patterns is significant in the evolution of computer-generated image-making as an artistic expression. This work is a collaboration with poet-playwright Dennis Bernstein, whose text supports the images, and fiber artist Sandra Brownlee/Ramsdale, whose intricate weavings serve as the foundation for the striking visuals.

According to Spivak (1988), the term subaltern in post-colonial theory refers to a marginalized person, one who exists within the dyad of the oppressor and the oppressed. This person is so marginalized that they do not even have a voice. In her inquiry Can the Subaltern Speak?, Spivak’s answer is no, but this requires a nuanced understanding. The subaltern cannot speak in a meaningful way within the structures of power that dominate their lives. They are oppressed by colonialism, capitalism, patriarchy, and other hierarchical systems. The subaltern are the masses who are socially, politically, and geographically excluded from the hierarchy of power. These power structures not only silence the subaltern but also prevent them from having a voice that is truly their own, as their speech is often mediated by the dominant culture.

The photograph is never anything but an antiphon of "Look," "See," "Here it is." It points a finger at a certain vis-a-vis and cannot escape this pure deictic language (Barthes, 1981).

In my current practice, I apply the idea of creating artificial myths as a revolutionary language to unmask underlying ideologies in our society. I seek to demystify the grand narratives that continue to plague the country. Case in point would be the romanticized image of rural life, particularly the idealized farming scenes made famous by Amorsolo.

My first curated group exhibition, with a particular focus on mark-making and its social relevance. Presenting the works of Kendall Colindon, Jonathan Madeja, Honey Maglalang, Fernando Montejo, Yana Ofrasio, Ritche Rodulfo, Joen Sudlon, Kirk Tabanera, and Freddie Vicente.

Reflections on three exhibitions at UP College of Fine Arts Gallery during Museums and Galleries and Indigenous Peoples month of October.

Comparing three artworks featuring bananas as a subject mainly through classificational and symbolic processes.

National Artist for Film Kidlat Tahimik unveiled a monumental exhibition featuring three installation works titled "Indiogenius! Tatlong Alamat ng Tagumpay" on April 23, 2024, at the UP Fine Arts Gallery. His work critically reexamines the enduring influence of colonialism and how colonial powers continue to exert control in our country particularly through media and technology, shaping identities in the process. Tahimik suggests that Filipinos can resist this cultural struggle by drawing upon our own materials, traditions, and narratives such as mythology and folklore.

"Lyrical Experimentation" offers a glimpse into Kim Tschang-yeul's fifty-year journey as a water drop painter. It showcases his unwavering experimental spirit in art, characterized by continuous exploration of materials while focusing on the same subject matter.

Commonly known as The Painter of Storms, Byun Shiji was born in Seogwipo, Jeju Island. He embarked on a quest to embody the unique beauty of Korea, reflecting its customs, scenery, and natural characteristics. The artist turned his focus to Jeju as his subject, recognizing the lives of the Jeju people who struggled to survive in its harsh environment and cultural climate, along with its historical nature as an island of exile and persecution. It is easy to assume that his black and ochre paintings depict certain places and landscapes on Jeju Island, featuring his favorite subjects such as stone fences, wind, sea, ponies, and crows. By achieving uniqueness in his art style, he became known as a pioneer of Jeju Style Painting, leaving a legacy in Korean art history.

Kim Sou is a Korean artist known for his style, Harmonism, which refers to the coexistence of figuration and abstraction. The Korean War sparked his interest in the world of inscape and subjectivity. Additionally, he drew influence from Japan, France, and the United States, actively incorporating emerging art styles from these regions.

The exhibition's title, Matereality, is a play on words combining 'mater'(Latin word for mother), 'reality', and 'materiality'. This embodies the curator's intention to challenge the conventional frameworks that confine women's lives, particularly those of mothers, by assembling women artists and expressing their point of views.

For ten years now, artistic expression and social activism have materialized in the form of a mural with the help of students from the College of Fine Arts (CFA) at the University of the Philippines (UP) Diliman. This dynamic canvas for change stands as a visual testament to the collective voice of the students, serving as a commentary on pressing social issues and showcasing the power of collective action to provoke thought and inspire dialogue within the University.

UP Fine Arts Gallery presents LULAN, ULILA, LIHAM, ALAGA, NAMAN, a group exhibition showcasing the works of Dennis Andrew Aguinaldo, Mia Angela, Ched De Gala, Don Kusuanco, Irma Lacorte, Tin Palattao, Des Pirinsesa, Mary Ann Jimenez-Salvador, and Ledz Taboada. The exhibition explores language as a theme for art-making, focusing on the relationship between visual and verbal imagery. Just as writers have experimented with the visual qualities of language, the artists in this show have similarly experimented with incorporating language into their work.

Itinatanghal sa eksibit na pinamagatang "Proklamasyon, Kontra-proklamasyon: Mga Diskursong Midya hinggil sa Batas Militar" ang mga artikulo ng balita, litrato, video, at karagdagang materyales na naglalarawan ng pananaw ng midya sa Batas Militar.