Everyone dies. For thousands of years, uncountable millions of corpses have been given funerals, and the living have always been faced with the problems of valedictory ceremonials for the dead and what to do with the corpses. Most of them have been buried, burnt, preserved, put in the sea, or exposed to the air. Quicklime, acids, eating and shrinking are more rare, and on the whole the overtly scientific methods go with unnatural death, so that earth, air, fire, and water are the most common agents of disposal.--pg. 9.

This delightfully intriguing pair of full-length mysteries by award-winning author Carolyn G. Hart delivers a novel approach to murder that is sure to enthrall you until the last killer is caught.. . . Death on Demand At Annie Laurance’s Death on Demand bookstore in Broward’s Rock, South Carolina (“the finest mystery bookstore north of Miami”), murder suddenly isn’t confined to the shelves. An author’s abrupt demise during a gathering of famous mystery writers is proof positive that a bloody sword is sometimes mightier than a brilliant pen. But now Annie is in the unenviable position of prime suspect, which means that she and her wealthy paramour, Max Darling, must unmask a brutal and ingenious killer. For Annie, failing could mean prison . . . while success could mean her death. Design for Murder When Annie stages a Mystery Night for Chastain, South Carolina’s annual antebellum house tour, she finds herself the lead in a deadly drama wherein the curtain falls on a mean-spirited grande dame. But while fingers point at Annie as the murderer, the perpetrator lurks within the cast of Murder-Most-Make-Believe. Guilty until proven innocent, Annie hopes to clear her name with Max’s help—until her chief witness is killed. Now it will take all of Annie’s sleuthing skills to unmask the evil in the hearts of Chastain’s Beautiful People.

Autonomous weapons systems, often referred to as 'killer robots', have been a hallmark of popular imagination for decades. However, with the inexorable advance of artificial intelligence systems (AI) and robotics, killer robots are quickly becoming a reality. These lethal technologies can learn, adapt, and potentially make life and death decisions on the battlefield with little-to-no human involvement. This naturally leads to not only legal but ethical concerns as to whether we can meaningful control such machines, and if so, then how. Such concerns are made even more poignant by the ever-present fear that something may go wrong, and the machine may carry out some action(s) violating the ethics or laws of war. Researchers, policymakers, and designers are caught in the quagmire of how to approach these highly controversial systems and to figure out what exactly it means to have meaningful human control over them, if at all. In Designed for Death, Dr Steven Umbrello aims to not only produce a realistic but also an optimistic guide for how, with human values in mind, we can begin to design killer robots. Drawing on the value sensitive design (VSD) approach to technology innovation, Umbrello argues that context is king and that a middle path for designing killer robots is possible if we consider both ethics and design as fundamentally linked. Umbrello moves beyond the binary debates of whether or not to prohibit killer robots and instead offers a more nuanced perspective of which types of killer robots may be both legally and ethically acceptable, when they would be acceptable, and how to design for them.

Booze, babes, and bullets follow recovery of stolen diamonds, as an American agent attempts to stay alive while sandwiched between the Russian Mafia and a Colombian drug cartel, attempting to combine diamonds and drugs. If you enjoyed Death By Design, you will like The Red God, a foreign intrigue thriller set in the Middle East, or The Mummy's Curse, a story of Nazi gold haunted by the supernatural, also by C. E. Albertson.

Tricky Design responds to the burgeoning of scholarly interest in the cultural meanings of objects, by addressing the moral complexity of certain designed objects and systems. The volume brings together leading international designers, scholars and critics to explore some of the ways in which the practice of design and its outcomes can have a dark side, even when the intention is to design for the public good. Considering a range of designed objects and relationships, including guns, eyewear, assisted suicide kits, anti-rape devices, passports and prisons, the contributors offer a view of design as both progressive and problematic, able to propose new material and human relationships, yet also constrained by social norms and ideology. This contradictory, tricky quality of design is explored in the editors' introduction, which positions the objects, systems, services and 'things' discussed in the book in relation to the idea of the trickster that occurs in anthropological literature, as well as in classical thought, discussing design interventions that have positive and negative ethical consequences. These will include objects, both material and 'immaterial', systems with both local and global scope, and also different processes of designing. This important new volume brings a fresh perspective to the complex nature of 'things', and makes a truly original contribution to debates in design ethics, design philosophy and material culture.

Theories normally seek to explain something. 118 Theories of Design[ing] asks us to question those explanations. By focusing on a broad range of somewhat overlooked and undervalued essays, papers, book articles, words, terms, authors and phenomena that swirl around design[ing], the reader is encouraged to read, reflect and question everything. This original book will appeal to a global market of university faculty heads and deans, museum directors, design educators, design researchers, key design practitioners, publishers, members of the design media, and undergraduate, postgraduate and post-doctoral students of design.

An Eye for Detail, a Nose for Trouble Interior designer Deva Dunne's latest project comes to a screeching halt when blood on the carpet leads her to the body of her client, an exotic dancer with a mysterious past. But the murdered woman is not the only resident of the posh beachfront condominium with secrets, and investigating officer Lieutenant Victor Rossi considers them all suspects. Though wary of working in the killer's midst, Deva continues decorating the unit for the new owner. When she stumbles upon clues that might help crack the case, she can't resist doing a little digging of her own, despite Rossi's orders to quit meddling. Now, she's juggling the investigation, her career and sexy neighbor Simon Yaeger, who seems interested in more than her etchings. Deva can't help but be flattered by all the male attention—that is, until she realizes the killer has designs on her, too... 67,000 words