The following texts are excerpts from the referenced works
"The second fantasy; the fantasy of containment:
The projection of danger onto the alien both draws on and fuels a fantasy of containment, for which walls are, of course, the perfect icon.
The protective walls of the home, is now exceeding to the nation. The need for containment, the impossibility of living without horizons, is addressed by several 19 to 20 century thinkers, for Nietzsche, a living thing can be healthy, strong and fruitful only when it is bounded by a horizon, for Freud, loss of containment is a road to psychosis, reminding us why virtual fences made of sensors and screening devices are often more effective than concrete barriers.
Shelter is provided by the horizon ability to turn the threatening world of the outside into a reassuring picture. " Wendy Brown, Desiring walls
"In a world that really has been turned on its head, truth is a moment of falsehood.
Understood on its own terms, the spectacle proclaims the predominance of appearances and asserts that all human life, which is to say all social life, is mere appearance. But any critique capable of apprehending the spectacle's essential character must expose it as a visible negation of life and as a negation of life that has invented a visual form for itself. [...]
[...] "Everything that appears is good; whatever is good will appear."
The absolute denial of life, in the shape of a fallacious paradise, is no longer projected onto the heavens, but finds its place instead within material life itself. The spectacle is hence a technological version of the exiling of human powers in a "world beyond" and the perfection of separation within human beings.
So long as the realm of necessity remains a social dream, dreaming will remain a social necessity.
The spectacle is the bad dream of a modem society in chains, expressing nothing more than its wish for sleep. The spectacle is the guardian of that sleep. [...]
The modern spectacle, by contrast, depicts what society can deliver, but within this depiction what is permitted is rigidly distinguished from what is possible.
The spectacle thus unites what is separate, but it unites it only in its separateness. The spectator feels at home nowhere, for the spectacle is everywhere.
Though separated from his product, man is more and more, and ever more powerfully, the producer of every detail of his world. The closer his life comes to being his own creation, the more drastically is he cut off from that life." Guy Debord, The Society Of The Spectacle