The Affordances of 3D and 4D Digital Technologies for Computerized Facial Depiction.
Citation Summary:
Research spanned 4 years and 2 multidisciplinary projects, leading to 2 co-designed exhibitions (‘Ta-Kush – Lady of the House’ 2018-present; and ‘Who Am I? Remembering the Dead through Facial Reconstruction’ 2018-19) with accompanying online resources, 2 public events in the UK and USA, 1 peer reviewed paper in Digital Applications of Archaeology and Cultural Heritage (2020) and 3 international conference presentations. Research culminated in two invited, peer-reviewed book chapters (one co-authored, 2019 and one single-authored, 2020) in the Advances in Experimental Medicine and Biology: Biomedical Visualisation series published by Springer.
- Submitting institution
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Liverpool John Moores University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32MR1
- Type
- T - Other
- DOI
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- Location
- Various
- Brief description of type
- Multi Component Output
- Open access status
- Out of scope for open access requirements
- Month
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- Year
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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3 - Face Lab
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- In a collaboration between Maidstone Museum and Face Lab (2016-18), Roughley explored the use of 3D and 4D digital technologies for the depiction of faces from skeletal remains to develop a facial depiction of a 2,700 year-old Egyptian mummy for inclusion in a new permanent exhibition ‘Ta-Kush - The Lady of the House’. His digital visualisation methodology to depict her facial appearance was in direct response to new scientific evidence re-evaluating her biography and the resultant virtual modelling produced a unique 3D printed touch-object and a digital animation for public engagement. The 3D printed model presents the accurate shape of Ta-Kush’s face, and was printed in a clear material to remove any potential bias relating to estimated skin, hair and eye colour. This artefact also allows the visually impaired the opportunity touch and ‘see’ Ta-Kush for the first time. The project advances contemporary approaches to working with, and displaying human remains in heritage spaces.
In 2018, as a collaboration between Face Lab and Johns Hopkins University, Roughley continued this research methodology with two ancient Egyptian mummies from the Johns Hopkins Archaeological Museum. Research drew upon archival, Egyptological, osteological and forensic evidence to re-humanize the mummies by telling their individual stories, both ancient and modern, through facial depictions and subsequent exhibition displays. His findings were exhibited in a temporary exhibition ‘Who Am I? Remembering the Dead through Facial Reconstruction’ (April 2018 - December 2019).
Reflecting upon these practice-based research projects and the methodologies used, the 2 book chapters in the Biomedical Visualisation series (2019 and 2020), and journal article in the Digital Applications in Archaeology and Cultural Heritage (2020) demonstrate how digital/haptic technologies allow researchers and the public to become active investigators in the visualisation/interaction of ancient human remains and describe the affordances of such interactions to generate new narratives/knowledge.
- Author contribution statement
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- Non-English
- No
- English abstract
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