A red flag is emblazoned, in gold thread, with a quotation from Guy Debord's The Society of the Spectacle (1967) --'The spectator feels at home nowhere because the spectacle is everywhere'--one of a handful of books, which include Henri Focillon's The Life of Forms in Art (1935), that Clemente cites as compelling personal influences.
What does SOTS stand for?
SOTS stands for Society of the Spectacle (Guy Debord text)
This definition appears very rarely and is found in the following Acronym Finder categories:
- Organizations, NGOs, schools, universities, etc.
See other definitions of SOTS
We have 15 other meanings of SOTS in our Acronym Attic
- Subcontracting Officer's Technical Representative
- Sufficiency of Test Review (US Air Force)
- Société de Transport Abidjanais (Abidjan, Ivory Coast)
- Association des Sous-Traitants de Basse-Normandie (French contractors association)
- Satellite Operations Training System
- Save Our Tongue Society
- Service Order Tracking System
- Shoyrus of the Sky
- Slaughter of the Soul (At the Gates album)
- Society for Old Testament Studies
- Son of the South
- Song of the South (Disney)
- Sons of the Sea
- Sons of the Shakes (1906 San Francisco earthquake; San Francisco, CA)
- Special Operations Training Services
- Special Operations Training Squadron
- Staff Operations and Training Specialist
- Student Out of Training Status
- Sword of the Stars (video game)
- Symptomatic Orthostatic Tachycardia Syndrome
Samples in periodicals archive:
1995, The Society of the Spectacle, New York, Zone Books.
Although Jean Baudrillard claims that we are no longer in the society of the spectacle (21), the spectacle employed in cinemas and on modern stage has brought new interpretations to drama and performance.
Guy Debord, whose argument for the centrality of play, of drift, in everyday life led French students to chant his slogans in May 1968, was an anomaly who left behind a single book, The Society of the Spectacle, which has left its mark on our time.
Following Debord, Agamben attempts to clear a space beyond the society of the spectacle which as ultimate hubris owes its existence to the self-perpetuation of capitalism, whereby all things may be considered sacred and where all people may become gods.
This structural shift to a society of the spectacle involves a commodification of previously non-colonized sectors of social life and the extension of bureaucratic control to the realms of leisure, desire, and everyday life.
The Society of the Spectacle and Symbolic Production
The nature of the public in this ritual is contrasted with that of the modern society of the spectacle.