Quotes of All Topics . Occasions . Authors
All the speed he took, all the turns he'd taken and the corners he'd cut in Night City, and still he'd see the matrix in his sleep, bright lattices of logic unfolding across that colorless void.
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.
A lot of the buildings [in Toronto] around Yonge and Bloor is the architectural equivalent of Kipper Ties and 8" collar points. It's ghastly and no amount of street-level retail glitz can lift it.
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.
What strikes me about Toronto is that Toronto's great misfortune was to have too much money in the late 70s and early 80s, and consequently, it built in the style of those periods, which is hideous.
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.
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.
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.
I look at [Toronto] and think well, perhaps my grandchildren will someday look at this stuff with the sort of appreciation I once held for Art Deco. Although I've come to find Art Deco quite creepy too.
If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.
I'm interested in people who become culturally fluent. And when I meet young people I'm often amazed they don't quite seem to have a sense of where they're from. They're like the citizens of the airport.
If I were in severely straitened socio-economic circumstances and had to move to the U.S., I'd probably opt for Athens, GA, or Lawrence, KS. As boho guys usually do, live cheap in the Left Bank of Kansas.
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.
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.
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.
You could have sex relatively comfortably on a platform of books, but not on a platform of PDA.s. Hardcover books. Paperbacks might start sliding around. Though I.d still prefer paperbacks to a pile of PDA.s.
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.
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.
When I began to write fiction that I knew would be published as science fiction, [and] part of what I brought to it was the critical knowledge that science fiction was always about the period in which it was written.
I think that the collectible ephemera craze/awareness is probably driven by a reverse market, rebounding off the sense of everything being mass-produced. It's the last step you take in trying to find something unique.
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.
When did it become necessary to explain what's so cool about Japan? Everyone was quite obsessed with it 15 years ago. I suppose it's the only Asian country that developed an imaginary entree to me. That's why I go back.
When I was a child, science fiction was the first source I've found for information. Science fiction was a very very low cultural stream in those days. It was completly below the radar and no one bothered to censurate it.
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.
The nature of emergent technology is, as Kevin Kelly once said, right out of control. It's an element of human evolution that's completely out of control. It's sort of driving itself, and I don't see it ceasing to do that.
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 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.
The future is there," Cayce hears herself say, "looking back at us. Trying to make sense of the fiction we will have become. And from where they are, the past behind us will look nothing at all like the past we imagine behind us now.
I had a list of things that science fiction, particularly American science fiction, to me seemed to do with tedious regularity. One was to not have strong female protagonists. One was to envision the future, whatever it was, as America.
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.
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'm quite proud of what I anticipated about reality television from my books in the early '90s, which I based on the early seasons of 'Cops' and on the amazing stuff I had read about happening on Japanese shows and the British 'Big Brother'.
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.
One of the liberating effects of science fiction when I was a teenager was precisely its ability to tune me into all sorts of strange data and make me realize that I wasn’t as totally isolated in perceiving the world as being monstrous and crazy
Television has - particularly at the HBO level in the United States - become a completely new genre. Something like Deadwood or The Wire is a whole new thing - there was no equivalent to that medium before. It's like a new way of telling stories.
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.
When I was first writing about Japan, it was at the peak of the Bubble. Bubble popped, but they kept on going. Japanese street style feeds American iconics back into America in somewhat the way English rock once fed American blues back into America.
I watch for emergent technologies and pay attention to what people say they'll be good for, then see what we actually use them for. It never occurred to me that a tiny telephone with a wireless transceiver would do whatever it is that it's done to us.
The history of the past, a hundred years from now, won't be the history of the past that we learned in school because much more will have been revealed, and adjectives we can't even imagine will have been brought to bear on what we did learn in school.
We don't legislate emergent technologies into existence. We almost never do. They just emerge, dragged forth by Adam Smith's invisible hand. Then we have to see what people are actually going to do with them, and try to legislate to take account of that.
Our hardware is likely to turn into something like us a lot faster than we are likely to turn into something like our hardware...I very much doubt that our grandchildren will understand the distinction between that which is a computer and that which isn't.
If I meet someone and discover that they're an absolute, very earnest nationalist, it's unlikely that I'm going to get much closer to them. I don't understand them. It doesn't matter where they're from, I just don't get it. I'm a multi-national kind of guy.
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.
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.
All I knew about the word cyberspace when I coined it, was that it seemed like an effective buzzword. It seemed evocative and essentially meaningless. It was suggestive of something, but had no real semantic meaning, even for me, as I saw it emerge on the page.
I was once really close to sitting down and having a conversation with a shadowy young woman who is reputed have become a millionaire by investing in Beanie Babies. She was someone that a couple people claimed to know, she seemed to exist, but she remained shadowy.
I've been through the whole western world, and it seems to me that there's more retail floor space devoted to the sale of books than food! There's more retail floor space devoted to the sale of books than there's been in the entire history of humanity! It's grotesque!
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.
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.
I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. I actually tend to suspect that in real life, there have always been very strong female characters, but at certain stages of society, they've been asked to cool it.