In its most general sense, then, a form is a complex relational structure—”a whole resulting from the relation of mutually dependent factors, or more precisely, the way the whole is put together” (1957b, 16). In the case of a painting, for example, “a visible, individual form [is] produced by the interaction of colors, lines, surfaces, lights and shadows” (1957b, 128), or whatever else enters into the specific work. In a dance or a musical composition, the form is transient and dynamic, but no less complex. And in literary works, the form is given to imagination, as a “passage of purely imaginary, apparent events” (1962, 86).