Something I've always wondered about. In the setting of Neuromancer, when someone is jacked in, are they still using a keyboard? Are they just REALLY good touch-typists, or does a "virtual" keyboard show when they look down?
Or is it all completely a product of "thinking" what you want?
Been reading this book over 20 years now and never really could decide for myself. What you you all think?
A few years ago I read an interview on Boing Boing and I think there was a link there to a sort of short story by WG.
He was the character - or maybe this story is true - I don't know. He tells how he's Episcopalian and ...one day there a knock at the door and the woman there is wearing a necklace that he recognizes somehow ... the crux of the story is that the devil has made it seem like it's the year 2000 whatever in order to wane our belief in god.
What is the name of this story? Where can I read it online? Or in a book?
I have been a great fan of williams work for many years loved neuromancer and an episode of the x-files called kill switch.. WIlliam if you read these posts check out marblars its an ideas web site ... I just have a gut feeling you could get a great story of it ... best wishes Darrell...
After so many of us seem to have gotten hooked on this show I thought I would open a thread for discussion.
I noted a few times that I was pretty amazed at the quality of the set work. They really got the gulf coast down pat. The poverty, the trailer park/religious/sex/drug culture, the constant background of refineries, country western music, bikers etc.
[I'd rather let this thread die a natural death, unanswered, but if you have similar experiences to relate, go for it.]
Hah! I think that little shit went a mile out of his way, just to flatten my tire -- and probably inconvenienced himself more than me, in the process. A pump, patch kit, about ten minutes of fiddling around, and it was good as new. His bus fare probably cost more than my patch kit. Such an act of devotion would be almost flattering, if it weren't so damned creepy.
Dear Mr. Bitch [you *must* know who you are by now],
If you don't want to be considered a douchebag, then try not to act like one. Your own actions speak much louder than my words ever could. And people have stopped trying to take you seriously.
If you really want to whine and complain about having to cover for someone, who was very legitimately, very upset at the time, then why should I cover for you, or patch-up your mistakes without comment? I shouldn't, and I didn't. I mentioned it to our acting supervisor instead. If you don't like that, do a better job.
Maybe you should consider some other line of work -- perhaps some form of self-employment? You're clearly not cut out for working with other, fallible human beings [or any human beings, for that matter, because there really is no other kind]. Just reminding you that you're not perfect either.
PS: I'd lowered my tire pressure for poor road conditions, then forgot to pump them up again when the weather cleared. Thanks for reminding me.
I'm inspired partly by the 'I Wish William Gibson Would...' thread and partly by seeing some (unfortunately very poor) snippets from a combined King Crimson/Tool gig on YouTube. (Apparently they each did some of their own stuff and also played some stuff together.)
I also love things like the collaboration between Peter Gabriel and Laurie Anderson on 'This Is The Picture (Excellent Birds)'.
So, let's cast our net broadly: music doesn't have to be the medium, neither does literature. What collaborations would you love to see? And why? Say a little bit about why it makes sense...
***I am not creating this thread to invite any gripes or negative comments about Gibson or anyone else, please. Think of this more as a Gibson fantasy discussion -- In your own perfect world scenario. ***
I wish Gibson would do another project with Bruce Sterling. I recently finished The Difference Engine (book and audio) and just tonight listened to the audio for Red Star, Winter Orbit. My Sterling mileage is pretty limited (mostly to his short fiction) but I think he and Gibson have a very powerful narrative voice together. I am just very curious what they would come up with now, after having a couple of decades to develop their respective styles.
Since Gibson and Sterling probably won't be doing another collaboration any time soon, I do highly recommend the audiobook format of The Difference Engine, narrated by Simon Vance; he really brings the details to life with authentic British flavour.
[since I am new on this board, I doubt too many people will reply; everyone is invited to though.]