William Gibson Quotes
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The deadliest bullshit is odorless, and transparent.
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I like living in Vancouver .It's more a matter of being a Vancouver loyalist. Harking back to what I said about growing up with the inherent violence in the southern U.S., I'm deeply enamoured of, and entirely used to living in a society with gun laws akin to those of a Scandinavian social democracy .It's a good thing.
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I find it interesting to see people - mostly people who are younger than I am - going to considerable trouble to try to reproduce things from an era that was far more physical, from a less virtual day.
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Cyberspace is where you are when you're on the telephone.
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I'd always maintained that much of the anarchy and craziness of the early internet had a lot to do with the fact that governments just hadn't realised it was there.
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Hollis thought he looked like William Burroughs, minus the bohemian substrate (or perhaps the methadone). Like someone who'd be invited quail shooting with the vice-president, though too careful to get himself shot.
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Why shouldn't we give our teachers a license to obtain software, all software, any software, for nothing? Does anyone demand a licensing fee, each time a child is taught the alphabet?
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The construct of William Gibson the Writer is coming down, and become more open. It's more of a Glasnost - Transparency! Transparency is what it is.
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I'm not the only one: witness Pokemon! They still keep coming up with this stuff that just rivets us in unexpected areas.
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Three in the morning. Making yourself a cup of coffee in the dark, using a flashlight when you pour the boiling water.
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I'm often saddened and dismayed to see myself portrayed as either a Luddite or as a raving technophile. I've always thought that my job was to be as anthropologically neutral about emerging technologies as possible.
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In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
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One of the things I have taken for granted, in terms of how technology works in the world, is the people that develop it and get it out there don't really know what we are going to do with until we have really gotten ahold of it and it has become ubiquitous. And then we wind up doing things that its inventors never dreamed of and those things become the real change drivers. That is actually where the whole technocracy thing falls apart for me, because the people who invented it can't predict what we're going to do with it.
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My dream scenario would be that you could go into a bookshop, examine copies of every book in print that they're able to offer, then for a fee have them produce in a minute or two a beautiful finished copy in a dust jacket that you would pay for and take home.
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Enlightenment is "being," and it grows; it's end is serenity.
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Maybe I've been a small part of the democratisation of celebrity, because I've been fascinated by it, and when it started to happen to me to the very limited extent that it happens to writers in North America, I was exposed to people who had the disease of celebrity. People who had raging, raging, life-threatening celebrity, people who would be in danger if they were left alone on the street without their minders. It's a great anthropological privilege to be there.
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[When] Johnny Mnemonic was coming out and I realized that all the kids that worked in 7-11 knew more - or thought they knew more - about feature film production than I did. And that was from reading Premiere, that was from this change that came from magazines that treat their readers as players. Magazines that purport to sell you the inside experience.
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I'm embarrassed if I think anyone knows exactly what I paid for something, or even where I got it. I want what I'm wearing to feel good on, wear well, and to be extremely functional.
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I would like to design what people generally call streetwear. I'd like to dress skateboarders, or whatever the older equivalent of skateboarders are. I pay more attention to that stuff than anyone would ever imagine because I'm watching what the designers do.
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We are that strange species that constructs artifacts intended to counter the natural flow of forgetting.
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When I start writing a new imaginary future, I have no idea what it is. The characters arrive first. They help me figure out where they are living and I get to fill in the gaps with that and where we are. So when I get to the end of the process of composition, if I feel that I have really done my job, I have no idea what I've got - and I then spend essentially the rest of my life figuring out what it might mean.
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We have no future because our present is too volatile. We have only risk management. The spinning of the given moment's scenarios. Pattern recognition.
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My problem is that all things are increasingly interesting to me
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I'm not a very intentional writer. I try to be as unintentional as possible. What I basically try to do is invite the zeitgeist in to tea.