Abstract
Daniel J Sander's article specifically takes up noise as a tactic that enacts stigmatizing cut of queerness in ways that take up contamination, fragmentation, abjection, and melancholia as modes of queer subjectivity and sociality. By tracing the echoic afterlives of Foreigner's I Want To Know What Love Is in explicitly queer texts, Sander links the aural contamination of the original song to practices of queer world-building and self-making that inhabit those spaces which cannot be redeemed by the logics of capitalist production and reproductive futurity.
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