Caroline M. Wilkinson’s scientific contributions

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Publications (4)


Figure 2. Facial depictions of ancient Egyptians known as the Goucher (left) and Cohen (right) mummies. Facial depiction images were displayed in the exhibition, Who Am I? Remembering the Dead Through Facial Reconstruction, at Johns Hopkins Archaeological Museum in 2018.
Figure 3. Original animatronic Abraham Lincoln developed by Disney. https://flickr.com/photos/79172203@N00/42346731335 Accessed on 12 November 2024.
Figure 4. Stills of the talking head of Robert Burns. A 3D digital facial depiction of the Scottish poet driven by performance transfer.
Digital Immortality in Palaeoanthropology and Archaeology: The Rise of the Postmortem Avatar
  • Article
  • Full-text available

December 2024

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34 Reads

Heritage

Caroline M. Wilkinson

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Mark A. Roughley

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Sarah L. Shrimpton

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.

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Using a morph-based animation to visualise the face of Pharaoh Ramesses II ageing from middle to old age

September 2024

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48 Reads

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1 Citation

Digital Applications in Archaeology and Cultural Heritage

Ramesses II was one of the most important Pharaohs to have presided over Egypt during the New Kingdom period. In 2023 researchers Wilkinson, Saleem, Liu and Roughley produced two digital 3D facial depictions showing Ramesses II at different ages: one around the age-at-death at 90 years old and the other, an ageregression at approximately 45 years old, based CT scans of his mummified remains, photographs, and historical information. The presence of two 3D facial depictions of one ancient individual at different ages affords an opportunity to show how Ramesses II might have looked during key moments of his lifetime and just prior to death. This paper describes the workflow adopted to add realistic textures to the facial depictions, and to use a morph-based animation to represent Ramesses II ageing from 45 to 90 years old.



Citations (3)


... However, none of these works were published in the form of a scientific article, at least I could not find them in any journal article database. Another very curious situation is that the new study cited by Prof. Dr. Saleem, in which an animation of the face of Ramses II is presented, is an article entitled "Using a morph-based animation to visualise the face of Pharaoh Ramesses II ageing from middle to old age" (Roughley et al., 2024) 22 of which, coincidentally, I was one of the reviewers and was able, with honor, to contribute with improvements in the final text and for future works with the same approach. I suppose Prof. Dr. Saleem didn't notice, but in the article in question she cited articles I authored and co-authored three times on that occasion. ...

Reference:

My public response and scientific rebuttal to Dr. Zahi Hawass and Prof. Dr. Sahar Saleem
Using a morph-based animation to visualise the face of Pharaoh Ramesses II ageing from middle to old age
  • Citing Article
  • September 2024

Digital Applications in Archaeology and Cultural Heritage

... These landmarks can be categorized into skeletal, dental, and soft tissue landmarks, each serving a specific purpose in the analysis [5,6]. The use of cephalometry for craniofacial assessment has been an integral part of orthodontic practice [7][8][9]. Conventionally, the technique involves manual tracing of the anatomical landmarks by superimposing transparent tracing papers on the lateral cephalograms to geometrically calculate certain craniofacial measurements [10]. The method has often been described as tedious, time-consuming, subjective, variable, and susceptible to errors [11][12][13]. ...

Craniofacial identification standards: A review of reliability, reproducibility, and implementation
  • Citing Article
  • March 2024

Forensic Science International

... Advances in digital technologies have enabled the realistic depiction of ancient faces using 3D computerised systems, haptic devices, 3D scanners, 3D printers, advanced photo-editing, and CGI software. Many examples of these archaeological digital depictions can be found presented in the media and on the internet, such as St Nicolas [19] ( Figure 1) and the ancient Egyptian pharaoh, King Ramesses II [20] (Figure 1), and displayed across the Galleries, Libraries, Archives, and Museums (GLAM) and heritage sectors. ...

Revealing the face of Ramesses II through computed tomography, digital 3D facial reconstruction and computer-generated Imagery
  • Citing Article
  • December 2023

Journal of Archaeological Science