Innovative products can be highly prospective and apt to disrupt usages profoundly. They can lead to multiple long-term social impacts influencing people's way of life and behaviour. So it is necessary to anticipate them without delay. Due to high uncertainty, designers may face the problem that conventional user-centred methods, which assess design performances from today's users, are not adapted. We think sociologists can help characterise the likely social impacts of future products. So we propose an original framework called the Representation-Usage-Impact (RUI) method to stimulate sociologists' projection and capture relevant knowledge about probable social impacts. The method includes a database structure encoding the knowledge of sociologists for further use in the design process. Its goal is to help designers avoid making choices today that may be regretted in decades. We illustrate the method and its process with the design of autonomous vehicle scenarios, as it will likely bring many new usages in the future. As the method is still under construction, we present an intermediate validation step involving sociologists. The first results suggest that the method might be a safeguard for the design of disruptive products.

The One Health concept explicitly acknowledges that the well-being of humans, animals and environments are linked. These relationships are complex and dynamic, evolving through time. Temporal perspectives also frame biological evolution and contextualise changes in our knowledge base and disease mitigation measures.

The recent discovery of animal carvings in the Early Bronze Age burial cairn at Dunchraigaig (Kilmartin Glen, Scotland) prompts a re-evaluation of current knowledge of rock art in Britain. The deer and other quadrupeds represented in the monument are the first unambiguous depictions of prehistoric animals of prehistoric date in Scotland, and among the earliest identified in Britain and Ireland. This contrasts with the well-known abstract carvings of rock art in this region, characterized by cup-marks and cup-and-rings. The discovery also reinforces the special character of Kilmartin Glen as one of the most original and remarkable Neolithic–Bronze Age landscapes of monumentality and rock art in Britain. This article describes the process of authenticating the Dunchraigaig carvings as part of the Scotland's Rock Art Project (ScRAP) and discusses their implications for our understanding of prehistoric rock art in Scotland, Britain and Atlantic Europe more widely.

The island of Sardinia is well known for its Late Neolithic and Copper Age underground rock-cut tombs that were used over generations for collective burials. Many tombs were decorated to resemble house interiors and cemeteries are often referred to as villages of the dead. Research so far has focused on excavating stratigraphic contexts within some of these monuments, or on typological classifications of tomb plans and wall decorations, but the landscape context of the cemeteries and their relationship to settlements have been overlooked. The article presents the results of two seasons of survey in Ossi (north-west Sardinia), focusing on two major cemeteries (Mesu ‘e Montes and S’Adde ‘e Asile). Combining fieldwalking, mapping and 3D recording techniques, the survey provides a comprehensive documentation of the cemeteries (from the underground architecture of individual tombs to their landscape setting) and yields evidence of prehistoric settlements in their vicinity. The article discusses the topographic and visual relationships between the tombs and the residential areas and how they may reflect social interactions between the living and the dead in late prehistoric Sardinia.

Twelve evidence-based profiles of roles across the translational workforce and two patients were made available through clinical and translational science (CTS) Personas, a project of the Clinical and Translational Science Awards (CTSA) Program National Center for Data to Health (CD2H). The persona profiles were designed and researched to demonstrate the key responsibilities, motivators, goals, software use, pain points, and professional development needs of those working across the spectrum of translation, from basic science to clinical research to public health. The project’s goal was to provide reliable documents that could be used to inform CTSA software development projects, educational resources, and communication initiatives. This paper presents the initiative to create personas for the translational workforce, including the methodology, engagement strategy, and lessons learned. Challenges faced and successes achieved by the project may serve as a roadmap for others searching for best practices in the creation of Persona profiles.

The interior of Neolithic tombs in Europe is frequently decorated with carved and painted motifs. In Sardinia (Italy), 116 rock-cut tombs have their walls covered with bucrania (schematic depictions of cattle head and horns), which have long been interpreted as representations of a bull-like divinity. This article reviews similar examples of bucranium ‘art’ in the tombs of three traditional societies in South-East Asia, focusing on the agency of the motifs and their roles within social relationships between the living, the dead, and the spiritual world. From these ethnographic examples and the archaeological evidence in Sardinia, it is suggested that bucrania in Neolithic tombs were a specialized form of material culture that had multiple, cumulative effects and functions associated with social display, memory, reproduction, death, and protection.

Sardinian Neolithic rock-cut tombs are not merely underground repositories, but complex and dynamic ritual architectures whose sequence of chambers was designed to host elaborate programmes of death ritual. The internal walls of about 250 of these tombs are decorated with carvings and paintings depicting architectural structures, cattle-head motifs and geometric designs. Research has often focused on classifying the motifs into typo-chronological categories, and little attention has been paid to their architectural setting and how art actually interacts with the spaces and structures of the tombs. How were art and architecture combined to create a setting appropriate for deathways? The present article results from a systematic review of this art and discusses patterns in the distribution and position of the motifs inside the tombs. Motifs were repeatedly placed at a few specific locations, suggesting that they played an active role in standardized ritual uses of the tombs. It is argued that art significantly contributed to structure spaces, sequence rituals, shape the ceremonial experience of the tombs, and was therefore a key agent in Late Neolithic deathways.

Passage tombs are the most elaborate monuments that were built during the Irish and British Neolithic, not only because of their complex monumental architecture but also because they are the only type of tomb that has carvings and such a diversity of funerary objects. This article focuses on the spatial organization of these three components of passage tombs and identifies several recurrent structures that are classified into three groups. From these spatial structures, an abstract elementary model is proposed that helps to understand the conceptual principles and the symbolic significations that guided the construction, decoration and use of the monuments.