Page 4, line 10: “clandestinely filmed” should read — filmed.

Page 17, line 14: “XIXth” should read — XVth.

Page 138, line 34: “1947” should read — 1847.

Page 139, line 5: “1948” should read — 1848.

Page 201, lines 1-5 should be typeset as follows:

     I will make no concession to the public in this film.*

     The actual audience of a cinema, staring fixedly in a perfect

     Several excellent reasons justify such conduct to my mind

     reverse shot, faces the spectators, who therefore merely see

     and I shall give them.

     themselves on this screen.

Page 212, lines 4-6: this is an error, based on press reports — Lebovici was not pro-Palestinian (excise this sentence).

Page 212, lines 15 and 16: “he blew himself up with one of his own bombs in 1972.” should read — he reportedly blew himself up with one of his own bombs in 1972 (although he may well have been murdered).

Page 238, line 12 and 13: “girl undergoing faith healing in a mud bath allows Debord to heap scorn on the media professionals who would insist that the truth is revealed by this fragmentary image” should read — an Andean girl being swallowed by a volcanically induced sinkhole allows Debord to heap scorn on the media professionals who would impose their profession on this helpless creature and maintain that this detail is a model of the truth.

Page 251 Arsenals and forts are permanently fixed on the board as follows: North arsenals at D8 and B15; North forts at B8, I13 and H21. South arsenals at T3 and T23; South forts at O23, M3 and L15.

Page 253, line 3: add Translated as Preface to the Fourth Italian Edition of Society of the Spectacle by Frances Parker and Michael Forsyth, London: Chronos Publications, 1979.

Page 253, line 10: “Translated by Michel Prigent and Lucy Forsyth” should read — Translated by the Piranha Group.

Page 257, insert, alphabetically, the following bibliographic omissions:

     Jappe, Anselm, Guy Debord Pescara: Edizioni Tracce, 1993. French translation by Claude Galli, Marseille: Via Valeriano, 1995. [Jappe writes that my book is derivative. Guy Debord — Revolutionary is more of a biography than his monograph, and it explores many aspects of Debord’s thought in original ways, such as Debord’s Hungarian influences.]

     Knabb, Ken ed. Situationist International Anthology, Berkeley: Bureau of Public Secrets, 1989

     __Public Secrets: Collected Skirmishes of Ken Knabb: 1970-1997 Berkeley: Bureau of Public Secrets, 1997

     Law, Larry Spectacular Times Pocketbook Series London: Spectacular Times, n.d.

     Lefebvre, Henri Critique de la vie quotidienne, Paris: Grasset, 1947 translated by John Moore as Critique of Everyday Life, New York: Verso, 1991

Page 261, line 9: joint publication of Semiotext(e) and Rebel Press.