I believe it really bridges the gap between orthodox and experimental animation. On one hand you have the narrative continuity, and dialogue, yet at the same time there is a degree of abstract choices that punctuate the scene. (e.g. colors altering with emotion, the artist experimenting with different forms of art.
Anyway, Wells' article pretty much details both sides of the same coin, in this case the coin is animation. Orthodox animation and Abstract animation are the two sides.
When it gets down to it, orthodox animation subscribes to many of the same principles of classic narrative forms. However, there is definitely a suspension of belief that goes with animated stories. The example given in the article is Wile E. Coyote/ Road Runner cartoons where the boulder that saves the Road Runner spontaneously generates over Coyote.
Abstract animation is essentially an interpretive exercise that comes from the personal realm of the artist. Essentially Abstract animation (let's have an A. A. meeting...sorry) is more rhythmic and musical than orthodox. It is more of a chore to the inexperienced viewer. This is pretty much the same as the avant garde/experimental arm of cinema.
It's really fascinating how every mode of film has two camps: the traditionalist narrative, and the challenging experimental. Animation, though it already strays from the traditional mode of film making, still has an area that branches from the norms.
I do like abstract animation though. It's something a little more visceral and instinctively emotive. For me it ties into the earlier readings of synesthesia.
Anyway I leave you with an interesting little find. Donald Duck during his bigot stage:
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