This paper offers an in-depth evaluation and future outlook of the representation of Singapore’s Yunnan Garden, with a central focus on various methods to create an immersive experience. The methods explored include 360-degree video, photogrammetric capture, and detailed photorealistic VR reconstruction. We critically assess their effectiveness and potential in the preservation of cultural and natural heritage in the digital world. The incorporation of interactive elements and the inclusion of motion capture of performers are also thoroughly examined. Challenges faced during implementation are discussed and solutions proposed for future attempts. The paper concludes with an exploration of the current approach to working with Gaussian Splatting as a future outlook. The ultimate objective of this research was to reconstruct the transformed Yunnan Garden and create a lasting memory, while also experimenting with and evaluating various emerging technologies to immerse an audience in the digital representation of a natural environment.

The colonial history connects the United Kingdom and Hong Kong culturally. Even today, colonial objects and architecture are still ordinary in Hong Kong, creating post-colonial visual experiences. This paper proposes an image-based multimodal approach to explore new em-bodied post-colonial visual experiences. The approach enriches the existing historical way of examining such experiences. Starting from examples of post-colonial space and objects in Hong Kong, the paper discusses colonial history and its impact on everyday visual experiences. Following is a literature review on multimodality as a speculative approach to anthropology, which establishes a theoretical framework for the later discussion. Lastly, the paper introduces and elaborates on an image-based multimodal approach by discussing a collaborative artwork Superimposition (UK-HK), which uses film swap and photogrammetry to examine post-colonial everyday visual experiences.

When play scholars attempt to define play a multiplicity of definitions emerge dependent on context, situation, and relations with a world. It is a particular way of being that is posthuman, post-cognitive, post-anthropocentric. First Peoples are the foremost experts in connecting knowledge with place, processes of experiential learning, languages of relational world building. Many of these methods are expected outcomes of ‘innovation’ arising from Extended Realities (XR) including location-based games, augmented reality, and electronic art. By entangling experimental game design, cultural knowledge/s, and posthuman philosophies this paper brings together reflections on creative practice in shaping a blending the expert knowledge of First Peoples with experimental art exploring play, place, language, and other ways of being. By decentering and entangling the subject, everywhen is already posthuman, in that it is post-anthropocentric, although it has also always been here. Instead, new methodologies and cartographic tools are needed to explore posthuman ways of being and knowing. Play is integral to First Peoples epistemologies in that knowledge emerges through action and interaction with people and place rather than learning being a strictly cognitive activity. These methods appear in experimental game design and electronic art, in the posthuman subject, but also in First Peoples epistemologies.