William Gibson

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Gibson, William,

1948–, Canadian science fiction writer, b. Conway, S.C., moved to Canada in the 1960s. He first published short stories in sci-fi magazines; many are collected in Burning Chrome (1982). One story, "Johnny Mnemonic" (1981), was made into a film (1995). His first novel, Neuromancer (1984), is a pioneering example of cyberpunk—cyber for cyberneticscybernetics
[Gr.,=steersman], term coined by American mathematician Norbert Wiener to refer to the general analysis of control systems and communication systems in living organisms and machines.
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, punk for the tough, anarchic sensibility of the punk movement. The novel tells of a robbery that occurs in the near future, partially in physical space, partially in "the matrix," and was the first to win the Hugo, Nebula, and Philip K. Dick awards. Count Zero (1986) and Mona Lisa Overdrive (1988) are sequels. Virtual Light (1993), Idoru (1996), and All Tomorrow's Parties (1999), a second trilogy, is set in the late 21st cent., and a third, Pattern Recognition (2003), Spook Country (2007), and Zero History (2010), in a dystopian contemporary world dominated by the Internet and consumerism. Other novels include The Peripheral (2014) and its sequel, Agency (2020). Archangel (2016–17) is a comic-book series. A selection of his articles and essays was published as Distrust That Particular Flavor (2011).


See T. Henthorne, William Gibson: A Literary Companion (2011).

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William Gibson


William Gibson

Author of cyberpunk novels such as Neuromancer (1984), Count Zero (1986), Mona Lisa Overdrive, and Virtual Light (1993).

Neuromancer, a novel about a computer hacker/criminal "cowboy" of the future helping to free an artificial intelligence from its programmed bounds, won the Hugo and Nebula science fiction awards and is credited as the seminal cyberpunk novel and the origin of the term "cyberspace".

Gibson does not have a technical background and supposedly purchased his first computer in 1992.
This article is provided by FOLDOC - Free Online Dictionary of Computing (foldoc.org)
References in periodicals archive ?
Griffero terms this an "atmospheric affordance," to be distinguished from the Gibsonian concept in that the former designates a field of meaning that is more encompassing than that between a subject and a discernible object (as in the chair that lends itself to be sat upon, the door knob invites itself to be opened, etc.).
The former can be further divided into pure reflex actions, and information pickup in a Gibsonian manner based on affordances.
The intricate lines moving to the center do lend themselves more to the Gibsonian peoples, possibly of the Stratocastrian tribe."
A perceived affordance is useful because the user is able to identify the clues needed to use the product, unlike the Gibsonian definition where the affordance can be present but the user does not know the usefulness.
Perception of utility was immediate--a lizard did not "see" a rock on a sunny day but rather "a place to sun myself." The rock would be said to "afford basking." A Gibsonian lineage considers seeing in one's environment to be automatically linked with perception of utility.
However, as Alain Badiou states in both a foreword and a dusk-jacket quotation, it remains 'the most subtle and original study of a crucial orientation' to have been written: suggesting Gibsonian 'intermittency' may become a theory in its own right.
Collins (1997) "Accurate social perception at zero acquaintance: the affordances of a Gibsonian approach".
(2009) Extending the rather unnoticed Gibsonian view that 'perception is cognitive': Development of the enactive approach to perceptual-cognitive expertise.
Here the peeling apart is reinforced not only by the specter of cliche--"coming apart at the seams"--but also by the "junk" of Burroughs, the "white noise" of DeLillo, and the "space junk" of Gibsonian cyberpunk.
But for those who glory in the circuitous patois of Gibsonian dialogue, the electrical noir of the book's locales and the Machiavellian menace of Hubertus Bigend, this world's worrying puppet master, the plunge down the rabbit hole is just as dizzying." CLAYTON MOORE
As Adam Roberts notes: "[t]he fact that his [Gibson's] technology is always what antique dealers call 'distressed,' that is to say the creation of a sense of rough edges, broken components and all-around decay, is one of the most noteworthy features of the Gibsonian style" (169).
The 2nd ICCSS & 10th EWEP offered an extensive, high-quality scientific program that included keynote addresses, symposia, oral and poster communication sessions (a total of 150 presentations), covering the main topics in complex systems in sport and in ecological psychology (in the Gibsonian tradition) with the aim of promoting an interdisciplinary sharing of ideas for the development of theory, practice, and research in human behavior, namely in the sport domain.