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| 1 | #+date: [2026-09-13 Sun 00:37:10] | ||
| 2 | #+title: Nowhere, Specifically | ||
| 3 | #+description: Liminal spaces confirm one thing: you're not supposed to be here... | ||
| 4 | #+slug: nowhere-specifically | ||
| 5 | #+filetags: :personal: | ||
| 6 | |||
| 7 | * Overview | ||
| 8 | |||
| 9 | What is a [[https://en.wikipedia.org/wiki/Liminal_space][liminal space]]? | ||
| 10 | |||
| 11 | If you look online, you'll find hallways, empty pools, or malls with the lights | ||
| 12 | off. You scroll through and experience the same eerie feeling each time: "This | ||
| 13 | feels off. It feels like something is wrong, but I can't pin it down." | ||
| 14 | |||
| 15 | The feeling is real and the good news is that you're not alone. There's a real | ||
| 16 | reason these places do that to you, and it turns out the word we all use for | ||
| 17 | them is describing something else entirely. I've felt a strong connection with | ||
| 18 | liminal spaces my whole life and I wanted to sit down here and write about it | ||
| 19 | for a while, similar to [[https://cleberg.net/blog/the-night-feeling.html][The Night Feeling]], which I wrote recently. | ||
| 20 | |||
| 21 | * Where It Happens | ||
| 22 | |||
| 23 | A hotel hallway at 3 AM. | ||
| 24 | |||
| 25 | A bus station lounge between connections. | ||
| 26 | |||
| 27 | A parking ramp stairwell, lit by a lone sodium lamp, flooded with yellow light. | ||
| 28 | |||
| 29 | #+caption: An empty hallway after hours | ||
| 30 | #+attr_html: :alt Empty interior corridor at night with a brick wall on the left, recessed ceiling lights, a speckled floor, and a single wooden door at the far end | ||
| 31 | [[https://img.cleberg.net/blog/20260913-nowhere-specifically/liminal.webp]] | ||
| 32 | |||
| 33 | Imagine yourself standing in one of these locations. Look around and picture the | ||
| 34 | carpet, the silence or the sounds of strangers somewhere in the distance, the | ||
| 35 | light and shadows bouncing off the walls. Nothing is happening. Nothing was ever | ||
| 36 | supposed to happen here; the room was built for you to walk through it, and yet | ||
| 37 | you stopped. | ||
| 38 | |||
| 39 | I often find myself standing on an empty street, meant to be bustling with | ||
| 40 | traffic, looking around at the pure absence as I exist in that space by myself. | ||
| 41 | The lamps shine down, flickering and glowing yellow. The bugs chirp and make | ||
| 42 | sounds throughout, letting you know that there are hundreds or thousands of | ||
| 43 | creatures around you, but it feels empty nonetheless. | ||
| 44 | |||
| 45 | * The Feeling | ||
| 46 | |||
| 47 | It's not fear, or loneliness, or nostalgia. You're simply somewhere you have no | ||
| 48 | reason to be, at a time nobody intended for you to be there. Or you're in a | ||
| 49 | place you'll never think of again. Or a place where you know no one has ever | ||
| 50 | stood still. | ||
| 51 | |||
| 52 | It's strange, because these are the same conditions I wrote about loving at | ||
| 53 | night: empty space, no one asking anything of me. At night that emptiness felt | ||
| 54 | like permission to be alone in my own space, but here it feels like a mistake. | ||
| 55 | |||
| 56 | #+caption: An empty parking deck under the University of Melbourne. Photo by [[https://commons.wikimedia.org/wiki/File:Melbourne_Uni_underground_carpark_interior.jpg][Canley]], [[https://creativecommons.org/licenses/by-sa/4.0/][CC BY-SA 4.0]] | ||
| 57 | #+attr_html: :alt Empty underground parking deck with rows of flared concrete columns, painted bays, and no cars in the foreground | ||
| 58 | [[https://img.cleberg.net/blog/20260913-nowhere-specifically/garage.webp]] | ||
| 59 | |||
| 60 | * The Effect | ||
| 61 | |||
| 62 | These spaces are built to move people through them, accounting for the nonstop | ||
| 63 | movement of crowds. Take the crowds out of the picture and suddenly the room is | ||
| 64 | useless. The airport terminal without people is a room without a purpose. When | ||
| 65 | you stumble upon one of these rooms, this is where you encounter that uneasy | ||
| 66 | feeling. | ||
| 67 | |||
| 68 | A big factor in this uneasy feeling is that they're built for large groups of | ||
| 69 | people. Mall hallways are meant to support crowds of people moving | ||
| 70 | quickly in all directions, popping in and out of shops. When you find them | ||
| 71 | empty, or with a single person in them, the spaces feel enormous. | ||
| 72 | |||
| 73 | #+caption: An empty mall concourse at night. Photo by [[https://commons.wikimedia.org/wiki/File:Interior_of_City-Center_empty_of_people_on_a_night_in_January_2025.jpg][JIP]], [[https://creativecommons.org/licenses/by-sa/4.0/][CC BY-SA 4.0]] | ||
| 74 | #+attr_html: :alt Empty shopping mall concourse at night, lit shop windows along one side, a juice bar along the other, and no people anywhere in the frame | ||
| 75 | [[https://img.cleberg.net/blog/20260913-nowhere-specifically/mall.webp]] | ||
| 76 | |||
| 77 | These places aren't built to belong anywhere. A hotel hallway in one city looks | ||
| 78 | like a hotel hallway in any other city, because neither one was meant to tell | ||
| 79 | you where you are. The anthropologist Marc Augé called these [[https://en.wikipedia.org/wiki/Non-place][non-places]]: | ||
| 80 | motorways, hotel rooms, airports, malls. A real place gives you an identity and | ||
| 81 | a reason to be there. A non-place gives you neither. When you stop in one, | ||
| 82 | there's nothing in the room to tell you where you are, and the uneasy feeling | ||
| 83 | grows. | ||
| 84 | |||
| 85 | #+caption: A hotel corridor in Butte, Montana. Photo by [[https://commons.wikimedia.org/wiki/File:Finlen_Hotel_hallway,_Butte_America,_January_2020_01.jpg][Montanabw]], [[https://creativecommons.org/licenses/by-sa/4.0/][CC BY-SA 4.0]] | ||
| 86 | #+attr_html: :alt Empty hotel corridor with dark patterned carpet, pale green walls, globe pendant lights, and doorways receding into the distance | ||
| 87 | [[https://img.cleberg.net/blog/20260913-nowhere-specifically/hotel.webp]] | ||
| 88 | |||
| 89 | Part of the strangeness is that you recognize these rooms without ever having | ||
| 90 | been in them. The drop ceilings, fluorescent lights, and commercial carpet | ||
| 91 | are the same in thousands of buildings, so any one of them looks like all the | ||
| 92 | others you've walked through. You end up with a place you can recognize but | ||
| 93 | never identify. This is also how dreams can work, which is why people so often | ||
| 94 | describe these images as dreamlike. | ||
| 95 | |||
| 96 | The missing people are the focal point of the experience. People have described | ||
| 97 | these spaces as an uncanny valley of architecture: familiar enough to read as | ||
| 98 | normal, empty enough to read as wrong. A room built for hundreds with nobody in | ||
| 99 | it suggests that something happened to everyone else, or that you're the only | ||
| 100 | one left. Nothing in the room says that, but you feel it anyway. | ||
| 101 | |||
| 102 | Most of these interiors come from the 80s, 90s, and early 2000s, which means | ||
| 103 | they're the childhood environments of the people making and sharing the images. | ||
| 104 | The mall, the school hallway, the motel pool are all places you spent time in | ||
| 105 | before you had any say about where you went. Then COVID emptied real public | ||
| 106 | space for everyone at once, and the whole thing stopped being a niche | ||
| 107 | interest. | ||
| 108 | |||
| 109 | #+caption: A school corridor with nobody in it. Photo by [[https://commons.wikimedia.org/wiki/File:Lorain_High_School_hallway.jpg][Matt Dempsey]], [[https://creativecommons.org/licenses/by-sa/2.0/][CC BY-SA 2.0]] | ||
| 110 | #+attr_html: :alt Empty school corridor with glazed tile walls, fluorescent ceiling lights, a polished terrazzo floor, and an exit sign at the far end | ||
| 111 | [[https://img.cleberg.net/blog/20260913-nowhere-specifically/school.webp]] | ||
| 112 | |||
| 113 | * The Backrooms | ||
| 114 | |||
| 115 | The best known version of all this is the [[https://en.wikipedia.org/wiki/The_Backrooms][Backrooms]]. In May 2019, someone on | ||
| 116 | 4chan's paranormal board asked for images that "just feel off," and one of the | ||
| 117 | replies was a photo of a room with pale yellow walls, fluorescent lights, and a | ||
| 118 | tilted camera angle. Another user wrote a caption about noclipping out of bounds | ||
| 119 | in real life and ending up there. That was the whole thing, and it worked: a | ||
| 120 | room built for people, with no people, that you can recognize and can't place. | ||
| 121 | |||
| 122 | #+caption: The original backrooms photo, released into the public domain by Bob Mazza ([[https://commons.wikimedia.org/wiki/File:HobbyTown_USA_Oshkosh_interior_under_construction_2002_%28The_Backrooms%29.jpg][CC0]]) | ||
| 123 | #+attr_html: :alt Empty second-floor room with pale yellow patterned wallpaper, tan carpet, and rows of fluorescent lights, photographed during renovation | ||
| 124 | [[https://img.cleberg.net/blog/20260913-nowhere-specifically/backrooms.webp]] | ||
| 125 | |||
| 126 | From there, it has grown exponentially. People added levels, then rules, then | ||
| 127 | monsters. Kane Parsons' YouTube shorts in early 2022 turned it into a full | ||
| 128 | horror franchise and took it mainstream. | ||
| 129 | |||
| 130 | Something got lost in that. The original photo is unsettling because nothing is | ||
| 131 | there. Once you put a creature in the room, the emptiness isn't doing the work | ||
| 132 | anymore; the monster is. It becomes a normal horror story that happens to be set | ||
| 133 | in a hallway, and the specific feeling that made anyone care about the photo in | ||
| 134 | the first place is gone. | ||
| 135 | |||
| 136 | * Liminal Is the Wrong Word | ||
| 137 | |||
| 138 | That brings up the word itself. [[https://en.wikipedia.org/wiki/Liminality][Liminal]] comes from the Latin =limen=, meaning | ||
| 139 | threshold. The anthropologist [[https://en.wikipedia.org/wiki/Arnold_van_Gennep][Arnold van Gennep]] used it in 1909 to describe the | ||
| 140 | middle stage of a rite of passage: you're separated from your old role, you | ||
| 141 | spend time in between, and then you're brought back in with a new one. [[https://en.wikipedia.org/wiki/Victor_Turner][Victor | ||
| 142 | Turner]] picked the idea up in the 1960s and it spread from there. | ||
| 143 | |||
| 144 | The important part is that liminality describes a person, not a room. It's a | ||
| 145 | state you're in while you're changing from one thing into another, and it ends | ||
| 146 | when the change is done. A graduation is liminal. A funeral is liminal. A | ||
| 147 | hallway isn't. | ||
| 148 | |||
| 149 | So the spaces in these photos aren't liminal. They're non-places, and the | ||
| 150 | feeling you get standing in one is the absence of the crowd they were built for. | ||
| 151 | Calling that liminal borrows a word for something that was never about rooms at | ||
| 152 | all. | ||
| 153 | |||
| 154 | * Oshkosh, Wisconsin | ||
| 155 | |||
| 156 | In 2024, people finally [[https://boingboing.net/2024/05/30/original-backrooms-photo-of-yellowing-office-dungeon-finally-identified-as-oshkosh-hobbytown.html][tracked down]] where the original Backrooms photo was | ||
| 157 | taken. It's the second floor of [[https://pbswisconsin.org/article/how-a-furniture-store-in-oshkosh-became-a-portal-to-another-dimension/][a building on Oregon Street]]. That address held | ||
| 158 | Rohner's Furniture until 1994, and HobbyTown bought it in 2002 and started | ||
| 159 | remodeling. Someone photographed the empty upstairs that June and posted it to | ||
| 160 | the store's renovation blog the following year. | ||
| 161 | |||
| 162 | That's it. The most reproduced image of dread on the internet is a hobby shop's | ||
| 163 | construction photo. Nobody was trapped there and nothing was wrong with the | ||
| 164 | room. It was a store that wasn't finished yet. The building is a hobby shop | ||
| 165 | again today, and the spot where the photo was taken is now a carpet racetrack | ||
| 166 | for radio controlled cars. | ||
| 167 | |||
| 168 | Nothing in that photo was between one thing and another except the store. The | ||
| 169 | room was never liminal. You were. | ||