Thanks for sharing the article, David.
There is, indeed, application to pianos of the general concepts contained therein, and we run up against them as we look more and more precisely and minutely at various phenomena.
Pitch, for instance. Once you start measuring (attempting to measure) within 0.5¢, you find that for most strings the pitch isn't stable enough to be measured at that level of refinement. That is, it changes from prompt pitch through decay, and in many cases varies up and down throughout its decay, or the string/SB/bridge produces more than one pitch. We tune to averages, and have to pick when to listen (aurally or measuring with the machine).
Same thing for hammer striking string, and the interface between the felt and the wire as well as the contribution of the flange/shank/hammerhead in producing a consistent or inconsistent blow (depending on factors like balance, flex, firmness/sloppiness, precision of arc, etc.) What is most important in setting the basis for tone, and in creating a controllable tonal gradient?
We need to approach precision as consistently as we can, while conceding that the closer we approach, the fuzzier things get. And there are so many factors involved in the ultimate production of tone that we can only ever scratch the surface. Which is why the field is so endlessly fascinating for those of us who become obsessed with it.
A happy holiday season to all!
"Travel is fatal to prejudice, bigotry, and narrow-mindedness." Twain