William Gibson Quotes

Hitler had had entirely too brilliant a graphics department, and had understood the power of branding all too well.

How it was, when you lost things, it was like you only knew for the first time that you'd ever had them. (...) You didn't wake up every morning and say yes and yes to every little thing. But little things were what it was all made of. Or just somebody to see, there, when you woke up.

"I did not come to this country for the terror from paramilitary," declared Voytek, hoarsely. "I did not come to this country for motherfucker. But motherfucker is waiting. Always. Is carceral state, surveillance state. Orwell. You have read Orwell?"

The Thirties had seen the first generation of American industrial designers; until the Thirties, all pencil sharpeners looked like pencil sharpeners — your basic Victorian mechanism, perhaps with a curlicue of decorative trim. After the advent of the designers, some pencil sharpeners looked as though they’d been put together in wind tunnels. For the most part, the change was only skin-deep; under the streamlined chrome shell, you’d find the same Victorian mechanism. Which made a certain kind of sense, because the most successful American designers had been recruited from the ranks of Broadway theater designers. It was all a stage set, a series of elaborate props for playing at living in the future.

That’s what money will buy you, in America,” Brown had said, firmly. “People say Americans are materialistic. But do you know why?” “Why?” asked Milgrim, more concerned with this uncharacteristically expansive mode of expression on Brown’s part. “Because they have better stuff,” Brown had replied. “No other reason.

Chia decided to change the subject. “What’s your brother like? How old is he?” “Masahiko is seventeen,” Mitsuko said. “He is a ‘pathological - techno - fetishist - with - social - deficit,” ’ this last all strung together like one word, indicating a concept that taxed the lexicon of the ear-clips. Chia wondered briefly if it would be worth running it through her Sandbenders, whose translation functions updated automatically whenever she ported. “A what?” “Otaku,” Mitsuko said carefully in Japanese.

Zona spat a stream of Spanish that overwhelmed translation, a long and liquid curse.

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. The Panther Moderns differ from other terrorists precisely in their degree of self-consciousness, in their awareness of the extent to which media divorce the act of terrorism from the original sociopolitical intent …

We're an information economy. They teach you that in school. What they don't tell you is that it's impossible to move, to live, to operate at any level without leaving traces, bits, seemingly meaningless fragments of personal information. Fragments that can be retrieved, amplified...

When we were only several hundred-thousand years old, we built stone circles, water clocks. Later, someone forged an iron spring, set clockwork running, imagined grid-lines on a globe. Cathedrals are like machines defining the soul; bells of clock towers stitch the sleeper’s dreams together. You see? So we’ve always been on our way to this new place — that is no place, really — but is real. It’s our nature to represent: we’re the animal that represents, the sole and only maker of maps. And if our weakness has been to confuse the bright and bloody colors of our calendars with the true weather of days, and the parchment’s territory of our maps with the lands spread out before us — never mind. We've always been on our way to this new place — that is no place, really — but is real.

Laney felt the pills he'd taken, the ones that were supposed to cushion the jet lag, drop out from under him like some kind of rotten pharmacological scaffolding.

Fables from before the Anaheiming.

He’d lived for so long on a constant edge of anxiety that he’d almost forgotten what real fear was.

"Farber says (in my recollection, anyway) the European (or classical) art, including film, is culturally assumed to be a monumental slab. It's about that slab, and how it's been shaped, or what's been carved on it. In "termite art" though, your slab has been wormholed countless times, and its meaning is really taking place in the resulting interstices. The actual art of the piece, in other words, and your enjoyment of it, is taking place in the cracks, and the shape of the slab is coincidental and ultimately meaningless."

Language is to the mind more than light is to the eye.