Abstract
This queer essay is in three sections. In the first two sections I take two different flights over the realms of sense, terminology, speaking, in-bodyment, and materiality. In some of the moments of reading, I will be considering the potentially oppressive+anti-oppressive and the potentially tortuous+emancipatory. Underlying the written words and drawn images, I wonder how disciplinary queering of the scene reveals how people and things are inseparable.
 No matter what my questioning verbal discourse may do, I am also reminded that SomeThings and SomeBodies also remain resilient and agential. I wish to show how I think it is actually im+materiality which does the queering towards which I increasingly feel called to attend and care. I consider how systematic disengagement from, and diffraction of dominant narrative mechanisms scream out for the perception of a multiplicity of ontological commitments: Could the capacities of what I call the ‘Queer Nervous non-System (QNn-S)’ emancipate the anthropocentric from the Central, Peripheral and Social Nervous Systems?
 In the final third section, I introduce my thoughts about Materiality Inscription Analysis (MIA) aimed at how to perform reiterative flights and queering within music therapy research and practice. This is one way that I am advocating for the persistent study of the ontogeneology and ontogenesis of music therapy.
 With this digitalized hand-written and drawn essay I wish a renewed unsettling of the becomings of music therapy, that it/they may be globally uniqued, may be temporary, and may be polymodally sensed. Somethings else, somethings more. Perhaps.
Highlights
This queer essay is in three sections
In the final third section, I introduce my thoughts about Materiality Inscription Analysis (MIA) aimed at how to perform reiterative flights and queering within music therapy research and practice
This is one way that I am advocating for the persistent study of the ontogeneology and ontogenesis of music therapy
Summary
There are some moments in a lifetime when the premises and routines of everyday life seem to fall short. As Koloza explains Laruelle refuses to define the human precisely because there is no set humanism at work (p.128) In his closing words of considering a non-standard queer theory, Michael O’Rourke (2013) described how: Laruelle has persistently identified his work as a heterodox and even heretical form of thought, one which will necessarily be misunderstood when viewed according to the norms philosophy sets for itself. Queering music therapy for me entails becoming nervous about the words and terms of discourse, but about the materials, architectures, equipment, assessment guidelines and so-called tools, investment profiles, colors of diagrams, and physical bodies of human, and non-human types. I feel that there is an opening being grafted to help move from prospectively-fixed analytic repertoires towards analyses that are unfoldingly improvisational and becoming clearer about their own becoming
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