Top 257 Quotes & Sayings by William Gibson
Explore popular quotes and sayings by an American writer William Gibson.
Last updated on September 17, 2024.
A snappy label and a manifesto would have been two of the very last things on my own career want list. That label enabled mainstream science fiction to safely assimilate our dissident influence, such as it was. Cyberpunk could then be embraced and given prizes and patted on the head, and genre science fiction could continue unchanged.
If you make something, it's an artifact. It's something that somebody or some corporate entity has caused to come into being. A great many human beings have thought about each of the artifacts that surround us. Different degrees of intelligence and attention have been brought to bear on anything.
Cyberspace is colonising what we used to think of as the real world. I think that our grandchildren will probably regard the distinction we make between what we call the real world and what they think of as simply the world as the quaintest and most incomprehensible thing about us.
I think with one exception I've never changed an opening sentence after a book was completed.
When I start writing a novel, I have no sense of direction, no idea, really nothing.
The future has already arrived. It's just not evenly distributed yet.
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?
I'm interested in how people all over the world array themselves and go forth in the morning to do whatever they have to do to make a living.
I'm happiest with people who've gotten furthest from traditional ideas of nationalism.
In 1981, I was a futurist - or at least I was a guy who put on a futurist hat occasionally - and I wrote about the 21st century.
I don't begin a novel with a shopping list - the novel becomes my shopping list as I write it.
And, for an instant, she stared directly into those soft blue eyes and knew, with an instinctive mammalian certainty, that the exceedingly rich were no longer even remotely human.
All my life I've encountered people who were obsessed with one particular class of object or experience, who were constantly pursuing that thing. Since I was a little kid, I hadn't afforded myself the opportunity, I guess, to have a hobby.
I can't imagine writing a book without some strong female characters, unless that was a demand of the setting.
I've become convinced that nostalgia is a fundamentally unhealthy modality. When you see it, it's usually attached to something else that's really, seriously bad. I don't traffic in nostalgia. We're becoming a global culture.
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.
That's one of my favorite things about Twitter: You can tweak your feed into a fabulous novelty engine. That's only one thing you can do with it, but it's one of the things I find most entertaining about it.
In a sense, if you're not getting it wrong really a lot when you're creating imaginary futures, then you're just not doing it enough. You're not creating enough imaginary futures.
I very seldom compose anything in my head which later finds its way into text, except character names sometimes - I'm often very much inspired by things that I misunderstand.
I've been interested in autism since I've known about it, which is more or less since I've been writing.
For years I have been mourning and not for my dead, it is for this boy for whatever corner in my heart died when his childhood slid out of my arms.
When I wrote 'Neuromancer', I had a list in my head of all the things the future was assumed to be which it would not be in the book I was about to write. In a sense, I intended 'Neuromancer', among other things, to be a critique of all the aspects of science fiction that no longer satisfied me.
The 'Net is a waste of time, and that's exactly what's right about it.
The sky above the port was the color of television, tuned to a dead station.
I think that technologies are morally neutral until we apply them. It's only when we use them for good or for evil that they become good or evil.
Language is to the mind more than light is to the eye.
The box was a universe, a poem, frozen on the boundaries of human experience.
Gadgets are usually the last thing I think about, and if there's something new, I'll get to the store for the final shipment of the first generation when it's on sale. So I have last year's stuff.
I started with Apple, in a pre-Windows era when PCs seemed to involve more of a learning curve. But the fact that I'm yet to acquire so much as a single virus still seems a very good thing.
Occasionally if I look back at something I've written I'll find one of those that I don't understand, but that's a bad thing - the unconscious has dealt me a bad hand.
I can't do fiction unless I visualize what's going on. When I began to write science fiction, one of the things I found lacking in it was visual specificity. It seemed there was a lot of lazy imagining, a lot of shorthand.
I'm not a computer guy. I'm like an anthropologist. I'm fascinated with people's obsessions. I've learned to wear them.
I don't think nostalgia is a healthy modality. But nostalgia and a sense of history are not the same thing. Nostalgia is a dysfunction of the historical impulse, or a corruption of the historical impulse.
I don't have to write about the future. For most people, the present is enough like the future to be pretty scary.
All we really have when we pretend to write about the future is the moment in which we are writing. That's why every imagined future obsoletes like an ice cream melting on the way back from the corner store.
I try to be objective about technology. Agnostic, in a sense. Whatever personal opinions I form tend to have more to do with what we find to do with the new thing.
I didn't have a manifesto. I had some discontent. It seemed to me that midcentury mainstream American science fiction had often been triumphalist and militaristic, a sort of folk propaganda for American exceptionalism.
Sometimes, I can myself be frustrated by books that seem to me to be insufficiently realistic about the world's potential for just being totally a randomly bad place.
I'm always interested in the spooky repurposing of everyday things.
I'm quite good friends with the putative director, Vincenzo Natali, and I'm a big fan of his work, but beyond that, I don't like to talk about other people's work work-in-progress.
Futurists get to a certain age and, as one does, they suddenly recognize their own mortality.
I think that our future has lost that capital F we used to spell it with. The science fiction future of my childhood has had a capital F - it was assumed to be an American Future because America was the future. The Future was assumed to be inherently heroic, and a lot of other things, as well.
I was afraid to watch 'Blade Runner' in the theater because I was afraid the movie would be better than what I myself had been able to imagine. In a way, I was right to be afraid, because even the first few minutes were better.
A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.
It's impossible to move, to live, to operate at any level without leaving traces, bits, seemingly meaningless fragments of personal information.
Dreaming in public is an important part of our job description, as science writers, but there are bad dreams as well as good dreams. We're dreamers, you see, but we're also realists, of a sort.
I grew up in southwestern Virginia. I was born in South Carolina, but only because my parents had a vacation cabin or something there on the beach. I was like a summer baby. But I did grow up in the South. I grew up in serious, serious Appalachia, in a very small town.
I think the least important thing about science fiction for me is its predictive capacity.
I guess Twitter is the first thing that has been attractive to me as social media. I never felt the least draw to Facebook or MySpace. I've been involved anonymously in some tiny listservs, mainly in my ceaseless quest for random novelty, and sometimes while doing something that more closely resembles research.
Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts.
If I'm practicing making up what the characters will do, it's never good. In fact, when I catch myself doing that, I try to get rid of that section, and try and let them start making the decisions.
I assume that - because you can get degrees in journalism from very reputable universities - I assume that people can be trained to be journalists. I've never been entirely certain that anyone can be trained to be a novelist in the same way.
Generation X is dead. It has come to mean anyone aged 13 to 55 years old.
In the early '80s, I happened to find myself in the vicinity of people who would work for Microsoft five years later.
I don't generate a storyline and then fill it out in the course of writing. The story actually generates in the course of the writing. It's one of the reasons I've never been comfortable doing screenplays, because in order to get the contract for the screenplay, you have to sit down and tell them what's going to happen.
Time moves in one direction, memory in another.
'Cyberspace' as a term is sort of over. It's over in the way that, after a certain time, people stopped using the suffix '-electro' to make things cool, because everything was electrical. 'Electro' was all over the early 20th century, and now it's gone. I think 'cyber' is sort of the same way.
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.
The Internet is part of this ongoing, species-long project we've been working on since we climbed down out of the trees in the savanna. We've been working on it without really knowing it.
The people I hang out with tend to use Macs, not that I think they're necessarily superior.
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