It's a very predictable, controllable, and uniform curve.
So obviously you didn't bother to actually read my post, before replying to it? No it isn't. That's exactly what I pointed out to you.
When playing something like Chopin's Fantasy Impromptu, even without pedalling the overtone series will cause interactions that render a uniform curve a complete impossibility. Once you add the pedal, it's even further from "a uniform curve". Sorry, but you're simply talking nonsense. In a complex cross-rhythm you can throw that idea out the window. In places where notes are very close in time, you'd have to hear the swell and then start judging decay again- all within a tiny fraction of a second.
I'm pleased if trying to think this way works for you, but your explanation is completely at odds with conceivable reality. If your ear were so sensitive, you wouldn't be claiming this pigswill about uniform curves. You'd hear something altogether different. You have also given no pointers whatsoever as to how it might be applied. Anyone who can tap their foot to a song has a feel for time that makes rhythm fully explicable. You have given no practical information whatsoever on how your approach might be employed (even if one assumed the fallacy of consistent decay, that you claim, had any consistent truth in it).
Also, you should really spend some time playing on some modern grands. I recently played on a piano where a softly depressed low A octave could scarcely be heard to decay whatsoever. Even after a number of seconds it was scarcely distinguishable from the level that came before. Quite honestly, it's staggering how long the bass of some pianos will take to display audible decay, once you are in the quieter levels.