Nevertheless, a forensic facial reconstruction has value in potentially allowing the exclusion of a particular individual as the unidentified subject and, most importantly, in acting as a stimulus for recollection of an absent neighbour, friend or relative. In this sense, the accuracy of the image may not be as important as allowing the investigating agencies to benefit from timely media attention and the public eye. The contemporary relevance of research on computerised modelling and animation may benefit archaeology intellectually and financially. Within archaeology, the enhanced cosmetic aspects of facial reconstruction further increase the amount of error incorporated into the model. Nevertheless, the drama of sensitively presented facial reconstructions may foster a greater empathy with the people whose lives we hope somehow to represent.
Archaeology continuously faces choices about how to engage with the contemporary world.
In this, the first issue of Assemblage , I would like to advocate a strategy of a critical appropriation of science and technology for archaeology. Acknowledgements The Sheffield computerised 3D forensic facial reconstruction project team includes Andrew Chamberlain , Beth Rega, Andy Tyrrell, Martin Evison, Linda Nelson and Kate Howell, and is directed by Prof. Michael Green of the Department of Forensic Pathology . We thank Phil Robinson of St. James' Hospital, Leeds for access to CT facilities. I thank Ian Tyers of Sheffield Dendrochronology Laboratory for his tireless scanning. The project is supported by the UK Home Office .