Backrooms, empty

Updated 28 Jun 2026

I watched the movie Backrooms [ 2026 | IMDB | Wikipedia ]. The reason I was drawn to it from the first trailer may be shared by others, or may be individual and manifest through vague personal emotions, or may be a genuine generational gestalt. I’ve had dreams of being in empty-not-abandoned hotel conference rooms. Large, vacuumed, beige-paneled spaces. I’ve always tied it to loose memories of being in hotel spaces where my father was giving presentations. (The in-the-moment creepiness about that is that it’s been a memory for so long that I don’t know when or where it happened). He did sales on housing construction. So I’m certain that those moments existed?

Lisa told me that the movie director is 20. This movie couldn’t have been made without having grown up with creepypasta. That’s maybe a bit exaggerated but what was “Twilight Zone”-y mid 20th-century became “creepypasta” in the 20-teens. Characteristics are: a particular feeling of disassociation paired with the suspicion that there’s an arbitrary cause, environmental, existential.

One of the first aspects of the story is that of a failed company. Empty office buildings are the haunted cabins of our current economic existence but even a comparison to haunted houses doesn’t express the horror vacui of seeing a cube farm without walls, desks, chairs. Such empty spaces conjure the ghosts of those who had been there.

A bunch of drunk friends and I were leaving an event at a hotel in downtown Atlanta. While still in the hotel, we wandered some back paths and hallways hoping to find a shortcut to where we could exit to find public transportation. I was feeling particularly sassy and pushed open a random door that took us into a large, dark, scaffolded room. The path wasn’t clear but when you’ve had drink… whatever. We wandered a bit, there was a silence in a vast, empty room. The first door we opened to the outside was directly across the street from our train.

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Dove stavo? Mar, Apr, May. Brescia, Parma, Torino.

(nota: This post has been sitting forever in “draft”. Let’s just post as it is and let the gods sort it out later.)

At the Museo di Santa Giulia in Brescia there was a show of Guido Crepax’s Valentina artwork that ran from 30 Sep 2025 to Sun 15 Feb 2026. I read about it on the Friday before it ended. Rats. I then obsessed about it for a week or so, reading more about the city and reflecting on my weekend in Firenze back in July of last year and so decided to spend the next weekend there. In the few months that followed I solidified the fourth rule of my Rules of Italy:

  1. Interact with someone on any level at least once a day.
  2. Every Friday morning go see something new in the city, which has evolved into: 2.a. Every Friday study the history of Genova.
  3. Go out for dinner once a week.
  4. Visit another city once a month.

Though I don’t intend for the Italy experience to end, I’m not sure how long this era will last (*cough* AI-taking-jobs *cough*) and so the imperative of taking full advantage becomes more imperative-y. I don’t think I’ve been lazy thus far but I need to be more focused in my unlaziness.

Guido Crepax. Sogni Giochi Valentina 1953 – 2003, cover of the program from the Crepax show at the Museo di Santa Giulia
Continue reading Dove stavo? Mar, Apr, May. Brescia, Parma, Torino.

Power, effort

I don’t have an answer to why today’s AI empowerment of non-coders is different from the hope, years ago, that technology should be simple enough that those unfamiliar, those not “geeks”, would be comfortable using it.

Years ago I created an Android app that was in a very small way my attempt at a visual programming language. It allowed a user to create an Android app within their phone with no external assistance or compiler. For the non-programmer, you could see the flow of pages based on button selection, and create branching, looping, and conditional choices without writing code. For the semi-programmer, you could see the C-derived programming language that drove the app, write code manually, step-debug, and inspect live variable states to your (admittedly simplistic) content.

My impulse was: we have in our phones a device that can connect to the web, calculate as much as a desktop computer, connect to a cell network and GPS and navigation, provide visual and audio access. And yet people are left to have others sell access to an immensely powerful sensory/logical/environmental device to them in order to access those features. A phone is a universal tool there for you to use. Use it as you want.

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Barbarella the Smuggler–Losing the thread

My writing has been inconsistent.

This is not unprecedented and not without cause. Many time before I’ve involuntarily, shamefully, paused on an idea I’ve loved, the story, returned, and finished. I’d thought that I would compose more while in Italy but stress and uncertainty from different directions has slowed not the ideas but the manifestation of those. I still have that “voice in my head” that elaborates on the story and the melodies and the structure as they should be, but… don’t act on it.

verse 5, where the people show her their most cherished possession: a map that can tell the future

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Le porte di Genova

Updated 26 Feb 2026

I arrived, the second of my three arrivals, and exiting the elevator at my front door I was serendipitously greeted by my elderly neighbor who was, beyond all pre-expectations for the genovese, more friendly than I’d expected in this or in any other city. I was disoriented by his kindness. The reason for my appreciation is obvious but it doesn’t take into consideration the rudderlessness you feel (I feel) in a foreign land etc. And, again, the unfair reputation the Genovese people get for being aggressively aloof with the non-Genovese is now something I will fight against.

The people I’ve met since have been just as piacievole.

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