Craniofacial reconstruction often represents a final step in medico-legal identification and is dependent on facial tissue thickness measurements and feature shape estimation. This study’s aim is to create a reliable and readily reproductible method of predicting the maximum nose width (MNW) based on the maximum nasal aperture width (MAW) for a Romanian adult population. A sample of 55 computer tomography (CT) scans consisting of Romanian adult subjects was selected from the database of a neurosurgery hospital. The craniometrics measured consisted of a first measure of MAW and second one of the MNW using 3D systems Freeform Modelling Plus Software. Correlation analysis indicated a moderate link between the MAW and the MNW. Regression analysis showed that MAW and sex form a statistically significant regression pattern (R² = 0.340, SEE (Standard Error of Estimate) = 3.801). The preliminary results obtained provide reliable predictions of MNW for facial reconstruction based on MAW measured on the skull.

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.

Technological advances have influenced and changed cultural heritage in the galleries, libraries, archives, and museums (GLAM) sector by facilitating new forms of experimentation and knowledge exchange. In this context, this paper explores the evolving practice of archaeological facial depiction using AI-powered deepfake avatar creator software programs, such as Epic Games’ MetaHuman Creator (MHC), which offer new affordances in terms of agility, realism, and engagement, and build upon traditional workflows involving the physical sculpting or digital modelling of faces from the past. Through a case-based approach, we illustrate these affordances via real-world applications, including four-dimensional portraits, multi-platform presentations, Augmented Reality (AR), and enhanced audience interaction. We consider the limitations and challenges of these digital avatar systems, such as misrepresentation or cultural insensitivity, and we position this advanced technology within the broader context of digital heritage, considering both the technical possibilities and ethical concerns around synthetic representations of individuals from the past. Finally, we propose that the use of MHC is not a replacement for current practice, but rather an augmentation, expanding the potential for storytelling and public learning outcomes in the GLAM sector, as a result of increased efficiency and new forms of public engagement.

In a previous series of desktop experiments we found no evidence that individuals' height influenced their representation of others' faces or their ability to process faces viewed from above or below (VSS 2009). However, in those experiments face orientation and body height were ambiguous as isolated faces were shown on a computer screen to an observer sitting on a chair. To address those concerns and to specifically examine the influence of learned viewpoint, we created a virtual museum containing 20 full-bodied avatars (statues) that were either sitting or standing. Using a head-mounted display, observers walked through this virtual space three times, approached each statue and viewed them from any horizontal (yaw) angle without time restrictions. We equated eye-level - and thus simulated height – for all participants and restricted their vertical movement to ensure that the faces of sitting avatars were always viewed from above and standing avatars from below. After familiarization, recognition was tested using a standard old-new paradigm in which 2D images of the learnt faces were shown from various viewpoints. Results showed a clear influence of learned viewpoint. Faces that had been learned from above (below) were recognized more quickly and accurately in that orientation than from the opposite orientation. Thus, recognition of specific, newly learned faces appears to be view-dependent in terms of pitch angle. Our failure to find a height effect in our previous study suggests that the variety of views of human faces experienced during a lifetime and possibly the preponderance of conversational situations between humans at close range typically counteracts any influence that body size might have on a person's viewing experience of others' faces.