If the EE seen in Fig.3. are considered as units, the more symmetrical, it will be the more attractive for the eye (the visual perceiver), and therefore there will be a rest before another eye movement; they strongly attract the attention and become centres. In that sense, this is akin to the momentary rest that occurs in music at some notes: the more consonant the note, and higher in the mode hierarchy [Sánchez,1993-a], the higher the rest, and, now in RIGE art, the more symmetric, the more restful. In this respect, the maximum symmetry is that of the lattice order, N, which present polygons or stars of N points. They would represent the most important centres, the centres of the RIGE, as the modal tonic and its octaves represent the reference note in modal music.
Therefore, as in music, melody (and auditive perception) moves between notes of the scale with temporary rest at important notes (let them be called king, wizir, courtiers, enemies, as in Indian terminology), in RIGE art too, the eye (and visual perception) will move between centres through less symmetric (consonant) EE, in an arsis-thesis contrast, necessary for every kind of Art and even for every grateful impression.
Many more similarities are to be found, as the metabolê formerly reviewed. A following paper will discuss them further in detail, and show those which we found ourselves, probably not all what could be found. But now to go further in this direction would be to go beyond the scope of this exposition: let us thus finish the subject here. By way of conclusion: A RIGE is a non-limited Form, only the observer limits its possibilities; since they are many observers with different levels of intuition and artistic perspicacity, there will be many readings of the same RIGE, as in any other form of Art.
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