I'm always interested in the spooky repurposing of everyday things.
Interpretation
The quote reflects an interest in taking ordinary objects and giving them new, unexpected purposes.
William Gibson's quote expresses a fascination with creatively transforming commonplace items into something intriguing and new. This 'spooky repurposing' suggests a blend of innovation and eeriness, emphasizing how familiar objects can take on fresh meanings when viewed from a different perspective.
In practice
In a speech about sustainability, you could use this quote to highlight innovative reuse of materials.
She knows, now, absolutely, hearing the white noise that is London, that Damien's theory of jet lag is correct: that her mortal soul is leagues behind her, being reeled in on some ghostly umbilical down the vanished wake of the plane that brought her here, hundreds of thousands of feet above the Atlantic. Souls can't move that quickly, and are left behind, and must be awaited, upon arrival, like lost luggage.
If you've read a lot of vintage science fiction, as I have at one time or another in my life, you can't help but realise how wrong we get it. I have gotten it wrong more times than I've gotten it right. But I knew that when I started; I knew that before I wrote a word of science fiction.
I think I'd probably tell you that it's easier to desire and pursue the attention of tens of millions of total strangers than it is to accept the love and loyalty of the people closest to us.
As a writer of fiction who deals with technology, I necessarily deal with the history of technology and the history of technologically induced social change. I roam up and down it in a kind of special way because I roam down it into history, which is invariably itself a speculative affair.
His eyes were eggs of unstable crystal, vibrating with a frequency whose name was rain and the sound of trains, suddenly sprouting a humming forest of hair-fine glass spines.
I don't have to write about the future. For most people, the present is enough like the future to be pretty scary.
I believe it is in my nature to dance by virtue of the beat of my heart, the pulse of my blood and the music in my mind.
The world concerns me only in so far as I have a certain debt and duty to it, because I have lived in it for thirty years and owe to it to leave behind some souvenir in the shape of drawings and paintings β not done to please any particular movement, but within which a genuine human sentiment is expressed.
Music has charms to sooth a savage breast, to soften rocks, or bend a knotted oak.
I began by listening to my mother's collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!
What I do believe is theatre is a medium with a peculiar ability to air vital issues.
So that I saw music as a way of documenting realities from the urban cities of Latin America.
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