Facial reconstruction is a technique that aims to reproduce the individual facial characteristics based on interpretation of the skull, with the objective of recognition leading to identification. The aim of this paper was to evaluate the accuracy and recognition level of three-dimensional (3D) computerized forensic craniofacial reconstruction (CCFR) performed in a blind test on open-source software using computed tomography (CT) data from live subjects. Four CCFRs were produced by one of the researchers, who was provided with information concerning the age, sex, and ethnic group of each subject. The CCFRs were produced using Blender^® with 3D models obtained from the CT data and templates from the MakeHuman^® program. The evaluation of accuracy was carried out in CloudCompare, by geometric comparison of the CCFR to the subject 3D face model (obtained from the CT data). A recognition level was performed using the Picasa^® recognition tool with a frontal standardized photography, images of the subject CT face model and the CCFR. Soft-tissue depth and nose, ears and mouth were based on published data, observing Brazilian facial parameters. The results were presented from all the points that form the CCFR model, with an average for each comparison between 63% and 74% with a distance -2.5 ≤ x ≤ 2.5 mm from the skin surface. The average distances were 1.66 to 0.33 mm and greater distances were observed around the eyes, cheeks, mental and zygomatic regions. Two of the four CCFRs were correctly matched by the Picasa^® tool. Free software programs are capable of producing 3D CCFRs with plausible levels of accuracy and recognition and therefore indicate their value for use in forensic applications.

Conversations surrounding end of life and death can be difficult or taboo for some, meaning that matters of organ and body donation are not widely discussed. To Donate or Not to Donate? That is the Question! is a comic developed to raise awareness and challenge common misconceptions about donation by encouraging the publics to engage in informed discussions about the different options available. This case study proposes graphic medicine as an alternative method of presenting donation information to a public audience, and illustrates how the comic medium can communicate body donation information in an accessible and engaging way.

It has been proposed that we are entering the age of postmortalism, where digital immortality is a credible option. The desire to overcome death has occupied humanity for centuries, and even though biological immortality is still impossible, recent technological advances have enabled possible eternal life in the metaverse. In palaeoanthropology and archaeology contexts, we are often driven by our preoccupation with visualising and interacting with ancient populations, with the production of facial depictions of people from the past enabling some interaction. New technologies and their implementation, such as the use of Artificial Intelligence (AI), are profoundly transforming the ways that images, videos, voices, and avatars of digital ancient humans are produced, manipulated, disseminated, and viewed. As facial depiction practitioners, postmortalism crosses challenging ethical territory around consent and representation. Should we create a postmortem avatar of someone from past just because it is technically possible, and what are the implications of this kind of forced immortality? This paper describes the history of the technologically mediated simulation of people, discussing the benefits and flaws of each technological iteration. Recent applications of 4D digital technology and AI to the fields of palaeoanthropological and historical facial depiction are discussed in relation to the technical, aesthetic, and ethical challenges associated with this phenomenon.

Collaborations between artists and scientists are increasingly a feature of the cultural landscape. Traditionally this relationship is seen as art in the service of science whereby artists use their skills to visually communicate complex scientific ideas. However, a hybrid form of collaborative, experimentally-driven practice has emerged over the last 30 years where artists and scientists work together to explore the creative possibilities and speculative futures represented by the intersection of these two ‘cultures.’ The MA Art in Science programme at Liverpool School of Art and Design facilitates discussions and interactions between subjects that have traditionally been studied in isolation within Higher Education. This paper details and discusses the theoretical foundations that have informed the curriculum design and its pedagogical ethos, describes the collaborative learning experiences at the heart of the programme, and offers an insight on how the programme’s approach to transdisciplinary art-science collaborative practice could be utilised across disciplines.