(…) In front of the visitor, an organ-construction is stacked up to a height of three meters; it rests upon carpentered, wooden blocks and towers above the viewer by one-and-a-half arm lengths. The organ pipes are not set up vertically, as is normally the case in order to fill the whole room with their sound, but instead they traverse the space horizontally and aim their dark and gaping openings at the visitor so as to hurl their harshly resounding, penetrating cry directly towards each person who moves through the room. The aggressiveness of the sound produced by these organ pipes is matched by their shapes, which betray more similarities to cannon tubes than to a musical instrument. Only after a while do the visitors become aware of the fact that it is their own steps and voices which awaken this thunderous sound which shakes both bodies and walls. (…)

Doris von Drathen « The Concrete World of Imponderabilities », in “Bernhard Rüdiger, locus desertus” Ed. La Drôme, les châteaux, 2006. Translated from the German by George Frederick Takis.