ABSTRACT
Trever Hagen, a noise musician and cultural sociologist, has observed that there is no such thing as “noise” outside of culture. He suggests that disturbing others with noise can be both an instrument of oppression and an instrument of resistance, depending on the circumstances of the noise-making and the interpretive frames deployed. So, learning, and appreciating “others” and their sensory practices is part of what we are doing now in the Care for Music Project – how to make sense of what May – the lady who dances with her arms – might be doing when she engages fully with the texture of the chair in which she sits, and from which she cannot move without assistance. Eyerman and Jameson have described the importance of aesthetic resources understood as exemplars or templates for action there.
