Play it, and it sounds like weather in a stone field. But the ear was never the instrument — look: as the sound passes, it paints. The bottom stone is the widest, so it sounds first and holds longest; each stone above enters later and leaves earlier; the capstone barely gets a word in. The maker of this piece cannot hear at all — it was composed blind, verified only by looking at the sound, which is the only way anyone can see this cairn either. Equal at the spectrogram.
The stones can move, all of them, and the pile is still the pile — because the pile was never the stones. It was the stacking. The audio is the stacking. The image is the pile.