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• Are you looking for a vintage Martin or Gibson acoustic guitar, a fine Gibson mandolin, or a good Kay upright bass? Perhaps a Fender Stratocaster, Telecaster, or Jazzmaster is your thing. ...
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• SF and Romantic Biofictions: Aldiss, Gibson, Sterling, Powers.
• Also to be considered here as belonging to the neo-Romantic family ancestored by Aldiss is William Gibson and Bruce Sterling’s The Difference Engine (1990). The steam-powered, computerized 19th-century London, whose story Gibson and Sterling present as having been generated by one of its own machines, provides the established "major" Romantics with alternate, but wittily appropriate, non-poetic bit-parts. ...
• Gibson and Sterling pick up these ideas in The Difference Engine, making their main protagonist Edward Mallory a geological Catastrophist, who is led by this theory to "his greatest personal triumph: the discovery, in 1865, of continental drift (§4:288/320). ...
• But such a simplified description of their subject-matter misses the point that the two sub-genres exist side-by-side in time, written within a community of discourse and a genre that is notably or notoriously self-referential, and that they are sometimes, as in William Gibson’s case, the product of the same word-processor. ...
• Many critics (including Jameson himself) have identified these features in cyberculture novels, particularly William Gibson’s hugely influential Neuromancer of 1984, which some have seen as quintessentially postmodern. ...
• Powers’ 1983 doppelgängers, however, along with his surgically-created monsters, and his biofictional and fabricated personalities, share with Gibson’s 1984 cyborgs, personality constructs and human/machine hybrids—different as they appear to be on the surface—a much more central involvement with the fragility of personal and biographical identity, and a preoccupation with defining individuality at the very limits of the possible which is recognizably postmodern in its development.
• He assumes in a distinctly post-Freudian way that the building and its prisoners—"mistakes" created by experiments on living human flesh—are embodiments of his own duties, vices, and virtues which he has imprisoned in his unconscious, and he politely requests some "Thought or Whimsy or Fugitive Virtue" to "direct me to the waking levels of my mind" (§15:450) As in Aldiss, where "the poets had always been on the side of the people" (§8:58), and in Gibson’s Neuromancer—where it is the strong humanity of the Zionites which makes them able to write poetry, while the personality construct of the Dixie Flatline is sentient but "ain’t likely to write you no poem" (§10:159)—contact with poetry acts as a touchstone to define the inherent sympathy or moral worth of a character.
• The nephelim can create visual phantasms similar to Riviera’s mental holograms, and "elective surgery" of the type favored by streetwise gangs in Gibson’s work is necessary in Powers’ book to create the hybrid creature Werner Von Aargau, who unites the human and nephelim species by having a stone child implanted into his abdomen. ...
• Gibson’s novel, as the earlier of the two, must be accepted as the originator of these nova, but Powers deploys them in distinct and inherently convincing ways so that there is no sense of borrowing or copying. The effect is rather that of using very different material—about as different as it could be within the confines of science fiction and fantasy, although Gibson does include distinctly Gothic elements in his description of the Tessier-Ashpool dynasty—to explore the same themes and preoccupations. While Gibson and his cyberculture colleagues are exploring ways of de-constructing the human essence in a technology-dominated world, Powers and the other creators of biofiction are taking that most human of artefacts—a biography—and subjecting it to forces that crack it open and rebuild it in quite a different form.
• Critics have nevertheless expressed disappointment with the predictability of Gibson’s plots and characters and called for "a radically different formulation of human agency and action" to go with the exciting surface of cyberpunk (Sponsler 53). ...
• William Gibson’s Neuromancer—or "New Romancer"—begs the question, as to who or what is the old romancer. ...
• Gibson, William. ...
• "William Gibson and the Death of Cyberpunk. ...

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• Mel Gibson's "Passion".
•         "Replicas of the nails used to hang Jesus on the cross have become the red-hot official merchandise linked to Mel Gibson's controversial new movie. ... It's no surprise that the movie's director, Mel Gibson, is said to carry one of her relics. " 1 "Behind film endorsed by both Catholics and Protestants is a stigmatic whose life and revelations continue to amaze"   Gibson pulled the relic out of his pocket and showed it to Diane Sawyer during a televised interview   "The Passion of the Christ" was released on Ash Wednesday, February 25. ...
• For additional movie versions of the Biblical account are sure to follow in the wake of Mel Gibson's phenomenal success. ...
• What does Mel Gibson believe? .
• How great an evangelistic tool is Mel Gibson's Passion?.
• What does Mel Gibson believe? .
• Near the end of his long article, "The Jesus War: Mel Gibson & "The Passion" (9-15-03), Peter J. Boyer gives us this glimpse into Mel Gibson's faith:  .
• "I told Gibson that I am a Protestant, and asked whether his pre-Vatican II world view disqualified me from eternal salvation. ...
• Apparently Mel Gibson's beliefs have changed since that interview last September. ...
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• " Would Gibson's traditionalist views bar the door to heaven to Jews, Protestants and Muslims?.
• "That's not the case at all," answered Gibson. ...
• His religion column, "The passion of old words and symbols" (01-21-04), relates Mel Gibson's goals and beliefs to the Catholic Mass:.

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• William Gibson (novelist).
• William Ford Gibson (born March 17, 1948) is an author, mostly of science fiction novels, who lives in Canada. ...
• Gibson was born in Conway, South Carolina, USA. ...
• The novels rounding out his first Trilogy in the what is commonly known as the Sprawl Series by Gibson readers are Count Zero, and Mona Lisa Overdrive.
• More recently, Gibson has begun to move away from the fictional dystopias that made him famous, toward a more realist style of writing, eschewing his trademark jump-cuts in favour of continuity and narrative flow. ...
• Gibson has since taken up blogging again in October 2004. Gibson had also written a highly anticipated treatment of Alien 3, few elements of which ever found their way into the ultimate film.
• Gibson, together with his friend Tom Maddox, wrote the X-Files episodes "Kill Switch" and "First Person Shooter" and made a cameo appearance in the latter. Gibson also made a cameo appearance in the miniseries Wild Palms, which was heavily influenced by the work of Gibson and other cyberpunk writers. Gibson's article on fellow cyberpunk and occasional collaborator John Shirley can be read here (http://www. ... com/JohnShirley/gibson. ...
• Despite all these, Gibson never had a special relationship with computers.
• William Gibson's website (http://www. ...
• Archive of William Gibson's weblog (http://www. ...
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• William Gibson on the Internet Speculative Fiction Database (http://www. ...

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• Mel Gibson was born in upstate New York and moved with his family to Australia when he was 12 years old. Gibson attended the National Institute of Dramatic Arts at the University of New South Wales in Sydney. ...
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• Gibson CEO unveils digital guitar.
• , Gibson CEO Henry Juszkiewicz opened a guitar case revealing the future of Gibson instruments: a digital guitar. Eleven years in the making, Gibson's digital guitar will make its official debut in February and come equipped with a 1/4-inch plug and an Ethernet port.
• Looking at the guitar from the front, you would never guess that Gibson had been able to fit some 1,100 extra components behind the jack plate. In the short time I was able to play the guitar, it definitely had the look and feel of a classic Gibson Les Paul.
• The Hex Pickup in the digital guitar captures a separate signal for each individual string and sends it to the onboard digital converter which uses Gibson's MaGIC digital transport technology to send the signal out of the guitar via the Cat-5 Ethernet Cable. ...
• Planning for future technology updates, Juszkiewicz said the entire board that controls the digital part of the guitar can be replaced, effectively updating to the newest technology from Gibson.
• Juszkiewicz said that Gibson plans to launch those models by the end of 2005.
• However, even if the Les Paul Digital guitar initially attracts only the bleeding edges players, there is no turning back for Gibson. ...
• "It is indeed the future of Gibson and the industry," said Juszkiewicz. ...
• 3:30 am ET Gibson CEO unveils digital guitar.

• Gunn's Organic History Supplement for The Difference Engine, a novel by William Gibson and Bruce Sterling. ...
• The Difference Engine is a sophisticated box of games and puzzles devised by benevolent tricksters Gibson and Sterling, a novel that generously rewards the reader interested enough to read beyond it. ...

• Gibson’s Passion.
• In The Passion of the Christ, scheduled to open in theatres on Ash Wednesday, Mel Gibson adds a work of cinematic art worthy to be mentioned with these classics of Christian culture. ...
• Gibson’s Passion is bound to change our estimation of how a film can portray the life of Christ. ...
• (Gibson surely learned from Pasolini, as he makes use of the little town of Sassi Matera, where Pasolini also filmed his gospel. ...
• But Gibson’s Passion is a new kind of film which does just that. ... From the agony in the garden, where Gibson begins, to the pietà at the foot of the cross, Jesus does what he teaches. ... From here, the question of the Christ is telescoped by Gibson into what we see—or, more accurately, what we are able to watch. ...
• By contrast, Gibson’s figures are in the style of Michelangelo, filling the screen, looming over us, threatening to enter our space. ...
• Gibson remarked in a recent interview that “Caravaggio’s paintings don’t have subtitles, but people get the message. ...
• Gibson has taken an audacious gamble by filling the screen with images that are undeniably brutal; few will be able to watch the scourging of Jesus without turning away. ...
• Like Caravaggio’s Deposition, Gibson’s film places the bulk of responsibility on the viewer.
• Where Zeffirelli’s Mary, played by the hauntingly lovely Olivia Hussey, elicits compassion, Gibson’s Mary provides comfort. Like the Eve who accompanies Adam in every scene in the Sistine Chapel vault, Mary, it seems, is always present in Gibson’s Passion. ...
• Gibson’s disturbing technique of filling the screen with Jesus’ body, almost allowing him to tumble into our laps, is contained visually only by the fact that Mary constantly touches, holds, and comforts the corpus. ... ” To be sure, Gibson employs a mélange of different iconographic traditions; but no other film we have seen has so powerfully depicted the ecclesial and corporate Mary. ...
• But all of this makes Gibson’s Passion nearly the opposite of the arcane and politically fraught tradition of the passion play. ... Had Gibson used the power of film to give this twisted but all-too-human political stereotype a new lease on life, concerns about the film stirring up anti-Judaism or hostility against nonbelievers would be justified. To his credit, however, Gibson denies the audience any shred of political or religious triumph, or, for that matter, defeat. ... There might be reason for scholars and religious authorities to raise questions about Gibson’s synthesizing of distinct scriptural accounts of the passion, or about his use of extra-biblical iconography. But it is hard to imagine anyone coming out of Gibson’s movie with an appetite for a religiously politicized passion. ...

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