In this chapter, I argue that noise can act as a pedagogical technology via the abject by challenging extant social formations and creating space for new ways of knowing and being to emerge. To do so, I begin by exploring noise through Deleuze & Guattari’s notion of “the pedagogy of the concept.” The authors' positioning of pedagogy (one that exists beyond the sensory and in conjunction with affect) opens up a space to understand the abject (and thus noise) as a learning technology and to further explore the problematics associated with the abject. I then engage the nuances of the aesthetic pedagogies of noise through the writings of Freire and Rancière, two authors who routinely investigated the aesthetics of education at all levels. In doing so, I conceptualize noise music as inherently linked to its pedagogical practices, one where the music tradition in part defines itself through a specific understanding of how both artists and audiences create meaning and construct knowledge. I expand on this theorization in the addendum by analyzing Pedestrian Deposit’s Kithless through this lens, contending that the meaning of the album emerges within the relationships formed between the artists, listeners, and the abject itself.