In 1989, Autodesk submitted a trademark application for the term 'cyberspace', a concept gaining traction as early virtual reality systems emerged. The move came amid growing interest in digital environments following pioneering work at the Autodesk Research Lab, where Michael Girard led a team developing immersive VR experiences using hardware like the VPL EyePhone and Polhemus tracker. The lab's motto, 'Reality Isn't Enough Anymore,' reflected its ambition to push boundaries in digital interaction.

The application drew attention when science fiction author William Gibson, known for coining 'cyberspace' in his 1984 novel *Neuromancer*, expressed opposition. According to Girard, Gibson reportedly reacted with frustration, prompting a letter from his legal team to Autodesk. The company proceeded with the trademark filing regardless.

The situation took a lighthearted turn through a prank initiated by Timothy Leary, who had previously collaborated with Girard on VR projects. Leary, a known advocate for psychedelic exploration and futurism, reportedly circulated a rumor that Gibson sought to trademark 'Eric Gullichsen' — a reference to a mutual acquaintance — as retaliation. This claim, later embellished by cyberculture figures like Rudy Rucker, became a persistent anecdote in tech circles.

The dispute appeared to dissolve during a 1990 gathering in Barcelona, where Gibson and Girard met at the Art Futura conference. Over drinks, Gibson remarked that 'Autodesk is not the street,' acknowledging the organic, decentralized way digital culture was evolving beyond corporate control. The two reportedly parted without lingering tension, and the trademark conflict faded from public view.

Years later, the story resurfaced in cultural memory, particularly after Gibson referenced the episode in later interviews. While Autodesk never secured exclusive rights to 'cyberspace' — a term that entered common usage independently — the episode illustrates how emerging technologies often spark unexpected collisions between innovators, artists, and legal frameworks. The narrative, initially framed as a rivalry, ultimately reflects the collaborative and often chaotic birth of digital culture.