William Gibson's 1984 cyberpunk novel "Neuromancer" continues to be a touchstone in cultural representations of the impact of new information and communication technologies on the self. As critics have noted, the posthumanist, capital-driven, urban landscape of "Neuromancer" resembles a Foucaultian vision of a panoptically engineered social space in which no activity (even unofficial and illegal activity) eludes the disciplinary gaze of power. On the other hand, William Gibson's latest novel, "Pattern Recognition," marks an important ideological shift from "Neuromancer." Though the novel retains a deep ambivalence toward new technologies' potential impact on the self, "Pattern Recognition" nevertheless locates a new source for hope and agency in embodied everyday experience. This article maintains that the change can best be understood as a complex transition from the worldview of Michel Foucault to that of Michel de Certeau. (Contains 3 endnotes.)