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There is always a point at which the terrorist ceases to manipulate the media gestalt. A point at which the violence may well escalate, but beyond which the terrorist has become symptomatic of the media gestalt itself. Terrorism as we ordinarily understand it is innately media-related.

William Gibson

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William Gibson
Age: 76
Born: 1948
Born: March 17
Novelist
Science Fiction Writer
Screenwriter
Writer
Conway
South Carolina
William Ford Gibson
Well
Beyond
Innately
Always
Media
Ordinarily
Violence
Ceases
Point
Manipulate
Understand
Terrorist
Become
Related
Symptomatic
May
Cease
Escalate
Wells
Terrorism
Gestalt

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I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.
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That's something that tends to happen with new technologies generally: The most interesting applications turn up on a battlefield, or in a gallery.
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He'd been numb a long time, years. All his nights down Ninsei, his nights with Linda, numb in bed and numb at the cold sweating center of every drug deal. But now he'd found this warm thing, this chip of murder. Meat, some part of him said. It's the meat talking, ignore it.
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I have this prejudice that trilogies are long, three-volume novels.
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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.
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His eyes were eggs of unstable crystal, vibrating with a frequency whose name was rain and the sound of trains, suddenly sprouting a humming forest of hair-fine glass spines.
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I've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.
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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.
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I probably had something to do with being southern. For some reason, over the last few years I've been much more conscious of that. It's probably because my friend Jack Womack has a thesis that he and I write the way we do because we're southern and we experienced the very tail end of the premeditated south.
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The future is already upon us, it is just unevenly distributed.
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We monitor many frequencies. We listen always. Came a voice, out of the babel of tongues, speaking to us. It played us a mighty dub.
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The present tense made him nervous.
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I think science fiction gives us a wonderful toolkit to disassemble and reexamine this kind of incomprehensible, constantly changing present that we live in, that we often live in quite uncomfortably.
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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.
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Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts.
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I don't think of myself as being particulary a subversive writer, but I like to think that my work could afford someone else, the extra degree of freedom that I found when I first found science fiction.
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I think the least important thing about science fiction for me is its predictive capacity.
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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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