This paper has attempted to produce a stronger conception of how representation can be employed to engage with experience, and the uniqueness of experience and, in particular, how this conception allows us to understand that point clouds are particularly suited to this task, and then propose how this might work. This paper begins with a review of a number of very influential landscape design writings, mostly from the late 1990’s, that were particularly dissatisfied with how the process of landscape design had been theorised. I find that a central challenge for them, central to what was particular about landscape architectural design, was how to engage with the experience, and the uniqueness of the experience, of the pre-existing landscape, as part of a design investigation? Despite their great contributions they struggled to describe specifically how this might occur. This is followed by a discussion of a selection of contemporary landscape architecture writings that focus on how digital representation is employed to, explicitly or implicitly, engage with this task, with particular attention to point clouds. I demonstrate that these writings, and the wider landscape design discourse, strongly tend to assume that the powerful visualising abilities of digital tools provide the means to engage with experience, and I show that this belief relies on an almost unremarked upon assumption that experience can be read-off such visualisations. I argue that this read-off-ability will, however, only be very limited. I then refer to extensive landscape fieldwork carried out by the author and various collaborators, and describe how we found that the Deleuze and Guattari (1988) notion of assemblage, the Deleuzian (1992) notions of affect, expression, and sense; and the neuroscience notions of the ‘as if’ body loop and ‘mirror neurons’, to be particularly powerful at understanding how landscape experience/uniqueness, functions – and the aesthetic and representational practices required to engage with them. I propose in general how such practices might function. I end by presenting an investigation employing point clouds to engage experience in a very large landscape, and this allows me to draw out how point clouds are powerful not because of their visualising abilities, and assumed read-off-ability of experience – but because they could act as a precise ‘neutral scaffold’ and, alongside relevant site, aesthetic and representational practices, could be transformed from a visualising material to an expressive material, one that starts to allow a designer to engage with landscape experience and its uniqueness, and I outline how this can happen.