Bree is a vibrant young archaeologist working toward her doctorate in anthropology. She attains a job within the Museum of Natural History in New York City for the foundation Artifacts Alive. The playboy son of the foundation's founder and CEO invites Bree to accompany him to the museum's grandest event of the year to view never-seen-before Egyptian artifacts that she would give her right arm to study. Bree has avoided Derrick the playboy's advances for two years. She selfishly agrees to go out on this date as she can't afford the exuberant price of the ticket herself. Bree knows that Derrick only desires one thing from her, which she is not inclined to give, but the value of seeing the relics outweighs evading Derrick's inappropriate advances throughout the night. Little does Bree recognize there is a much more sinister objective Derrick requires of Bree than just a one-night stand. Bree's tranquil life turns inside out instantly as she's thrust into a frightening realm, which would deliver her directly to a psychiatric ward if she tried to justify to others her experience. Abducted and involuntary portaled into a life only envisioned in the darkest of nightmares, Bree finds herself surrounded by supernatural creatures, heinous monsters, foul dungeons, cruel torture, greedy obsession, and contemptible lust for supremacy. Within all the depravity, Bree develops unexpected alliances that flourish into intimate relationships. She acquires an astonishing phenomenon within herself that aids her friends' survival but comes at a cost to her own wellbeing. When Bree's offered the opportunity to go back to New York, she finds herself torn between returning to her past life or staying in her present one. She has experienced events that have altered her beyond her wildest imagination. She is no longer the individual she once was. A choice awaits her. Which will she decide?

A literary history of the old, broken, rusty, dusty, and moldy stuff that people dug up in England during the long eighteenth century. In the eighteenth century, antiquaries—wary of the biases of philosophers, scientists, politicians, and historians—used old objects to establish what they claimed was a true account of history. But just what could these small, fragmentary, frequently unidentifiable things, whose origins were unknown and whose worth or meaning was not self-evident, tell people about the past? In Artifacts, Crystal B. Lake unearths the four kinds of old objects that were most frequently found and cataloged in Enlightenment-era England: coins, manuscripts, weapons, and grave goods. Following these prized objects as they made their way into popular culture, Lake develops new interpretations of works by Joseph Addison, John Dryden, Horace Walpole, Jonathan Swift, Tobias Smollett, Lord Byron, and Percy Bysshe Shelley, among others. Rereading these authors with the artifact in mind uncovers previously unrecognized allusions that unravel works we thought we knew well. In this new history of antiquarianism and, by extension, historiography, Lake reveals that artifacts rarely acted as agents of fact, as those who studied them would have claimed. Instead, she explains, artifacts are objects unlike any other. Fragmented and from another time or place, artifacts invite us to fill in their shapes and complete their histories with our imaginations. Composed of body as well as spirit and located in the present as well as the past, artifacts inspire speculative reconstructions that frequently contradict one another. Lake's history and theory of the artifact will be of particular importance to scholars of material culture and forms. This fascinating book provides curious readers with new ways of evaluating the relationships that exist between texts and objects.

First in a series of archaeological mysteries featuring Faye Longchamp, who uncovers more than artifacts from the past. "A haunting, atmospheric story." —P.J. Parrish, New York Times bestselling author Faye Longchamp has lost nearly everything except her determination to hang onto Joyeuse, a moldering plantation hidden along the Florida coast. No one knows how Faye's great-great-grandmother Cally, a newly freed slave barely out of her teens, came to own Joyeuse in the aftermath of the Civil War or how her descendants hung onto it through Reconstruction, world wars, the Depression, and Jim Crow. But Faye has inherited the family tenacity. When the property taxes rise beyond her means, she sets out to save Joyeuse by digging for artifacts on her property and selling them on the black market. But instead of pot shards and arrowheads, she uncovers a woman's shattered skull. If Faye reports the 40-year-old murder, she'll reveal her illegal livelihood, risk jail...and Joyeuse. So she probes into the dead woman's history, unaware that the past is rushing toward her like a hurricane across deceptively calm Gulf waters.... Winner of the 2004 Benjamin Franklin award in Mystery/Suspense

Lincoln said it eons ago.... It took a speck of one-celled plant life on a world parsecs away to prove it for all the galaxy.

Responding to cultural demands for meaning, user-friendliness, and fun as well as the opportunities of the emerging information society, The Semantic Turn boldly outlines a new science for design that gives designers previously unavailable grounds on which to state their claims and validate their designs. It sets the stage by reviewing the h

Material Culture from Prehistoric Virginia: Volume 2 is one volume of a two-volume set. This two-volume set is available in black and white and in color. Volume 1 contains artifact listings from A through L. Volume 2 contains the remainder of the alphabetical listings. These publications contain over 10,000 prehistoric artifacts mainly from Virginia, but the publication covers the eastern U. S. The set starts with Pre-Clovis and goes through Woodland times with some Indian ethnography and rockart. Each volume is indexed, contains references, has charts and graphs, drawings, photographs, artifact dates, and artifact descriptions. These volumes contain artifacts that have never appeared in the archaeological literature. From beginners to experienced archaeologists, they offer a complete library for the American Indian culture and experience. If the prehistoric Indian made it, an example is probably shown.

A rallying call for extending human rights beyond our physical selves—and why we need to reboot rights in our data-intensive world. Our data-intensive world is here to stay, but does that come at the cost of our humanity in terms of autonomy, community, dignity, and equality? In We, the Data, Wendy H. Wong argues that we cannot allow that to happen. Exploring the pervasiveness of data collection and tracking, Wong reminds us that we are all stakeholders in this digital world, who are currently being left out of the most pressing conversations around technology, ethics, and policy. This book clarifies the nature of datafication and calls for an extension of human rights to recognize how data complicate what it means to safeguard and encourage human potential. As we go about our lives, we are co-creating data through what we do. We must embrace that these data are a part of who we are, Wong explains, even as current policies do not yet reflect the extent to which human experiences have changed. This means we are more than mere “subjects” or “sources” of data “by-products” that can be harvested and used by technology companies and governments. By exploring data rights, facial recognition technology, our posthumous rights, and our need for a right to data literacy, Wong has crafted a compelling case for engaging as stakeholders to hold data collectors accountable. Just as the Universal Declaration of Human Rights laid the global groundwork for human rights, We, the Data gives us a foundation upon which we claim human rights in the age of data.