Paisid Aramphongphan has kindly suggested the following very relevant passages from a book I find myself returning to regularly in my work, José Esteban Muñoz’s Cruising Utopia:
“Queerness has an especially vexed relationship to evidence. Historically, evidence of queerness has been used to penalize and discipline queer desires, connections, and acts. When the historian of queer experience attempts to document a queer past, there is often a gatekeeper, representing a straight present, who will labor to invalidate the historical fact of queer lives—present, past, and future. Queerness is rarely complemented by evidence, or at least by traditional understandings of the term. The key to queering evidence, and by that I mean the ways in which we prove queerness and read queerness, is by suturing it to the concept of ephemera. Think of ephemera as trace, the remains, the things that are left, hanging in the air like a rumor.
Jacques Derrida’s idea of the trace is relevant here. Ephemeral evidence is rarely obvious because it is needed to stand against the harsh lights of mainstream visibility and the potential tyranny of the fact. (Not that all facts are harmful, but the discourse of the fact has often cast antinormative desire as the bad object.) Ephemera are the remains that are often embedded in queer acts, in both stories we tell one another and communicative physical gestures such as the cool look of a street cruise, a lingering handshake between recent acquaintances, or the mannish strut of a particularly confident woman.” p.65
“Queer dance is hard to catch, and it is meant to be hard to catch—it is supposed to slip through the fingers and comprehension of those who would use knowledge against us. But it matters and takes on a vast material weight for those of us who perform or draw important sustenance from performance. Rather than dematerialize, dance rematerializes. Dance, like energy, never disappears; it is simply transformed. Queer dance, after the live act, does not just expire. The ephemeral does not equal unmateriality. It is more nearly about another understanding of what matters. It matters to get lost in dance or to use dance to get lost: lost from the evidentiary logic of heterosexuality.
For queers, the gesture and its aftermath, the ephemeral trace, matter more than many traditional modes of evidencing lives and politics. The hermeneutics of residue on which I have called are calibrated to read [Kevin] Aviance’s gestures and know these moves as vast storehouses of queer history and futurity. We also must understand that after the gesture expires, its materiality has transformed into ephemera that are utterly necessary.” p.81
Both quotes from José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (Durham, NC: Duke University Press, 2009)