In the end, things are merely mannequins, and even the great moments of world history are only costumes beneath which they exchange glances of complicity with nothingness, with the petty and the banal. Such nihilism is the innermost core of bourgeois coziness—a mood that in hashish intoxication concentrates to satanic contentment, satanic knowing, satanic calm, indicating precisely to what extent the nineteenth-century interior is itself a stimulus to intoxication and dream. This mood involves, furthermore, an aversion to the open air, the (so to speak) Uranian atmosphere, which throws a new light on the extravagant interior design of the period. To live in these interiors was to have woven a dense fabric about oneself, to have secluded oneself within a spider’s web, in whose toils world events hang loosely suspended like so many insect bodies sucked dry. From this cavern one does not like to stir.”
Walter Benjamin (1999). The Arcades Project. Cambridge, MA: Harvard University Press. p.216. [ emphasis mine ]
Diffusive Architectures 