(Sorry in advance. Really not meaning to derail this interesting post).
You do bring up an interesting organ playing philosophy,
(thomas690) that being, I believe, how a tracker organ gives more control to the organist by the fact that the speaking parameters (to a degree) of the individual pipe are literally in the hands (and feet) of the organist. If I understand your point correctly. This is similar to the difference in playing, for instance, an 8' Steinway or Bosendorf to that of a velocity sensitive keyboard, no matter how good the keyboard is (thought to be). Basically there is no comparison between what the pianist can do (playing technique wise) with a full grand piano.
But back to organs. As good as they have been made to sound, via Hauptwerk and really good samples, this idea of the touch response (for lack of a better term) still is a missing factor. But how could this be accomplished technically? With a variable resistance controlled by the key action "linked" to proper electronics to control (variably) the pipe's speech? Some sort of transducer again controlled by the key action? Myself, I have not seen many, if any, papers addressing this with the exception perhaps of :
http://www.pykett.org.uk/EndOfPipeOrgan.htm Could it be that this "feature" is just not deemed by one and most as being relevant or important enough to pursue?
While my experience with tracker action is limited by what I have read, my take away is that it takes quite a bit of physical prowess to play one of these instruments, that in addition to interpreting the musical score.
A good while ago I heard of an organist (playing a tracker) that for the final chord, he could only accomplish this by standing with his full weight on the pedals and with all the force he could muster press the keys. Talk about a tactile experience Oh joy.
BTW, speaking of hard to press keys, my Rogers 340 accomp manual's 2nd touch is right up there. "Play that for a few (aching) minutes," said grimacingly.
Rgds,
Ed