At 16, I discovered Kurt Schwitters’ Sonate in Urlauten. It opened the door to Dada and to a poetry in which language itself becomes music. I have performed the piece many times since—and it still surprises me. In hommage à Schwitters, the poem becomes a partner in a playful encounter. The sculpture recalls ready-mades and Luigi Russolo’s noise machines. As visitors approach, sensors awaken its sounds, inviting them to become part of the play.