But emitted imagery is going to ring in areas of detail and high contrast. Reflective imagery, not so much. Sharpness is going to create detail and contrast.

If you are going to do this kind of thing, you will have to develop an eye looking at stuff. And then be ready to lose that eye and look at it like a street person again.

My point is look at the whole thing, not the pixels. Those corners ring, I want to look at them. We aren't having a beauty contest here. That logo is a single element on a page full of a lot of other stuff. Do we want it ringing? Hell, do we even want the viewer looking at the damn thing. If I ran that circus I'd probably fade the thing to about 50%. Yes it's got to be there. They should notice it, recognize it, but we probably want them looking at something else.

It's a rule, a law really, that you never, never, NEVER look at a logo or design in isolation when you are making a judgement. You look at it in its venue. If it's a critical use, you will be fiddling with the design, the whole thing, not just the logo, for each use. This isn't an aim, shoot and forget situation.

Edit: I should also point out that when looking critically at a design I use an old visual astronomer's trick: Averted vision. That is to say, I don't look directly at the thing I'm looking at, I look beside it or even a ways off. Your eye isn't a camera. It's a complicated flying spot scanner with a really complicated, variable sensor. Different parts of your eyes "notice" different things.

The center is good for detail and color, but the edges are good for contrast and small variations in same. When a viewer looks at a page, his center of vision is looking at those groovy sharp pixels, but the edges are noticing stuff too, like contrast and movement. Just like the caveman who is looking eagerly at the bright red berries on the bush, the edges of his eyes are looking for that tell-tale flicker in the underbrush that means a big mean cat is about to jump on him and eat him. You have to be cognizant what is going on all over the field of view in order to control, or organize the viewer's experience.