We have now come to the significant observation that one criterion for the musical impression of a tone series is the uncertainty of frequency and time division. We can bring both together on a graph of uncertainty relation. All other musical elements are to be ordered on a lower level. On the other hand, their permissable fluctuation width from the point of view of perception, can be determined experimentally. According to aesthetic laws of art, certain limits may not be exceeded. For the aesthetic impression of a painting, the painter intends that the contuors of forms, identified through color areas, should not be absolutely sharp, and that no color should be used in the absolute purity of its spectral line. These requirements are indeed fullfilled in a highly worthy work of art. There is no raster with elements of mathematical accuracy and no monochromatic color value in the execution of painting. The movement of the continual transience is created by the eye in its continual movement over the surface of the picture. A fixed staring at a picture to be defined as quasi-staionary prohibits the forming of an aesthetic-artistic impression the arising of a "gestalt."
We can make similar observations on looking at architectural drawings. In the total representation of houses and gardens -- in projects which should be illuminated from the aesthetic side -- one avoids the straight line and uses instead a sort of shaded or broken stroke. Franz Liszt once said: "Why subject art to systems of straight lines?"