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In this interview with Thomas Dekeyser, Eugene Thacker elaborates on the central themes of his work. Addressing themes including extinction, futility, human universalism, network euphoria, political indecision and scientific nihilism, the interview positions Thacker’s work within the contemporary theoretical conjuncture, specifically through its relation to genres of thought his work is often grouped with or cast against: vitalism, speculative realism and accelerationism. More broadly, however, the interview offers a unique insight into Thacker’s approach to the thinking, doing and writing of ‘philosophy’.

In the primordial scene, which Girard has described, society is constituted on the basis of the lynching mob, whose mimetic desire, envy and egotism culminate in sacrificing the scapegoat. With spite, though, we confront the opposite situation, in which the mimetic desire does not establish but rather destroys `society'. Here everybody, and not only the scapegoat, is threatened with destruction. Regarding the genealogy of spite, the article elaborates on radical nihilism (that is, the will to negation) and relates this to passive nihilism (the negation of the will as such), arguing that these two nihilisms are significant to understand both the hedonism/disorientation that characterizes contemporary post-political culture and the emerging forms of despair and violence as a reaction to it. These two nihilisms constitute a non-dialectical `synthesis' in spite of seemingly antagonistic `disjunctions'. The article concretizes the genealogy of spite with two cases: French bestselling writer Houellebecq's novels and (the war against) terrorism. Then it focuses on the relationship between the three social formations (primitive, despotic and capitalist societies) and spite as an `affect without society'. Finally, agonism as a political virtue is set against spite.

Construction has recently begun on Michael Arad and Peter Walker's `Reflecting Absence' 9/11 memorial in New York. The design, with its emphasis on traumatic absences and silent contemplation, has moved from selection to construction with relatively little public debate, an indication of a problematic creative and critical consensus forming around contemporary memorial aesthetics. The article seeks to re-open this critical discussion by turning to the philosophy of aesthetics, poetics and language developed by Giorgio Agamben. Agamben reminds us of the classical Greek association of art to poiesis, a passive act of bringing into being, rather than praxis, the active expression of the artist's creative will. Taking this distinction as his starting point, Agamben develops a theory of aesthetics that is neither a modernist embrace of nihilism nor a conservative call for a return to the classical pursuit of universal truths. Agamben posits instead an art concerned not with the transmission of any particular content, but with the task of transmission itself. For Agamben it is the potentiality of the event of language, a kind of pure communicability, that is the ground for our common belonging in the world. Agamben's theories of poetics and language may help us imagine a Ground Zero memorial that moves beyond a strictly didactic or therapeutic role and seeks instead to bring into being a radical space of communication.

The hegemonic form of contemporary queer theory is dependent on a model of desire as autonomous and deregulated, derived from post-'68 French theory and particularly the work of Michel Foucault. Such a model is at risk of finding itself in congruence with a deregulated post-Fordist capitalism that recuperates supposedly dissident sexual identities. This article returns to the work of Foucault to identify a largely unacknowledged tendency in his work that contests the valorization of sexuality and calls for an `end of the monarchy of sex'. This possibility is linked to Foucault's controversial exploration of the concept of `spiritual politics' through his engagement with the Iranian revolution. Rather than regarding this as a regression into a reactionary religiosity, I argue that it forms an inquiry into new political possibilities of revolt. These possibilities contest what Alain Badiou has identified as the nihilism of contemporary capitalism, in which desire and sexuality are deployed to constrain the political imagination to a limited bodily `materialism'. Drawing on the work of the later Foucault, it becomes possible to develop this new politics around asceticism, which is not so much withdrawal from the world but the refusal of the mediations of identity through sexuality and the body.

The extent to which Walter Benjamin's thought is bound up with the conceptual framework and debates of Bergsonism is overlooked to the detriment of our understanding of both. Benjamin's conception of Erfahrung/ experience is defined in relation to Bergson's conception of experience in the durée/duration. Benjamin implicitly evokes and extends a Bergsonian conception of creativity. This is central to Benjamin's understanding of the political implications of the decay of aura. The enhanced potentiality for creativity constitutes the possibility of new forms of genuine Erfahrung in the scattered debris of the old. This would be based upon an affirmative nihilism, the mobilization of the creative second technology, the loosening of the masses, and the `politicization of art'. Crucially, however, Benjamin rejects Bergson's ahistorical approach to creativity within human experience. Virtual difference, the durée, is not external to human history. Creativity does not `flow into' actual human life but is the actualization of virtual difference that is generated and delimited by given socio-technological conditions. Modern creativity is not the gift of` God but of the capitalist mode of production. Benjamin provides a materialist explanation for the utility of Bergson's conception of creativity in the political critique of the present and a materialist justification for the normative prioritization of openness and qualitative segmentarity. He treats the durée as fully immanent to human experience and affirms a politics that is both more realistic and more committed to the value of difference in itself than is articulated in Bergson's own sociobiology. Benjamin does, as such, make a direct and critical contribution to the contemporary attempt to deploy Bergsonism in political critique and to render vitalism sociological.

The article offers a critical but sympathetic reflection on the development of classical and post-classical French sociology. From Comte onwards, I suggest, the modern French treatment of the social has been preoccupied with socio-theological questions; and even with the radical deconstruction of any society-god, this continues to be the case. There are distinctive historical reasons for this (including the Catholic inheritance and an enduring legitimacy problem for the Republican state); but the significance of the issues raised by this intellectual tradition as a result goes beyond the limits of national context. In an age of post-histoire and the `death' of everything, the `French' travails of social ontology, including the quasi-religious register in which these have occurred, have deep and continuing import for any would-be progressive social theory as such. We need to rethink the `we'. With such considerations in mind, the body of the article considers Comte's concept of Humanity and Baudrillard's `end of the social' as exemplifying key aspects of the beginning (reconstructive) and ending (deconstructive) phases of the French sociological story. What began as a detour in the `death of God', I argue, has terminated in a `second death of God' in which a replacement divinity and the rationalist faith associated with it have disintegrated and become impossible to think. But the logic of this development has not been straightforward. It is marked by a double paradox. An interrogation of Comte's `Humanity' reveals it to be a semi-conscious exercise in simulation, haunted by the implications of its own emptiness. On the one hand, then, the attempted religious founding founded nothing (it made a transcendent of its own intended re-socializing effects). On the other hand, as exemplified by Baudrillard's pronouncements about the end of the social, the moment of disintegration has itself seemed to offer a new socio-theological opening. Rather than mourn the anomic or hyper-real impossibility of a transcending `we', Baudrillard would shift terrain in a quasi-Nietzschean (or Bataillian) transvaluation. This implies (against Baudrillard himself) not the definitive end of the French `sociological' project, but the possibility of its continuation, albeit under erasure and in a new key.

Comme un nouvel avatar du conflit existant entre dogmatisme rationaliste et historicisme empirique, l'A. tente de montrer le decalage existant entre la multiplicite des sources de signification et l'experience. C'est la la source du nihilisme moderne, la fin de l'autorite fondee sur l'experience. Ce theme favori de Walter Benjamin en fonde aussi l'exigence methodologique : il s'agit d'experimenter la fin de l'experience. L'A. analyse une approche de la thematique messianique presente dans la philosophie transcendentale et speculative de W. Benjamin