Figure 1: Cybermap of the Western Han mural tomb M27 (Xi'an, China): Powerwall visualisation and motion capture facility at UC Merced
Figure 2: Rhizome of Western Han: AVIE 360-degree stereoscopic interactive visualisation system (Kenderdine and Hart 2011, fig. 13)
Figure 3: Tele-immersive Western Han: tele-immersive real-time system (YouTube https://www.youtube.com/watch?v=LZtssNwAfMQ)
Figure 4: Virtual Museum of the Ancient Flaminia: multi-user virtual reality stereo installation (from Pietroni and Rufa 2008, Table LXVIII)
Figure 5: Livia's villa reloaded from Claudio Rufa, E.V.O.CA on Vimeo (https://player.vimeo.com/video/80151975).
Figure 6: Powerwall condition. a) Changing light condition to explore objects. b) Manipulating objects (objects appear big on the screen due to off-axis parallax projection but the user perceives it as in real-life); c) Interacting with the objects without original colours (note the floating virtual menu in front of the user)
Figure 7: Highlight of object manipulation and visualisation in the Powerwall in dark environmental light condition. The red cone represents the user's pointer designed to interact with the scene (objects and menu 3D interaction and lights repositioning). Figure 7a: The user is moving the light source to enhance details of the objects. Figure 7b: similar situation where textures were removed from the objects to analyse the polygonal representation
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