of “rhythmic abstraction"
Of Rythmic Abstraction January 8, 2026 Flores’s reading of Cid Reyes privileges aesthetic mystification over methodological rigor, collapsing formal description into metaphysical claims and eliding historical, social, and discursive contexts that would complicate the neat narrative of “rhythmic abstraction” Flores advances; this rebuttal shows how his premises rest on selective analogy, formalist bias, and unexamined teleology. Overview of Flores’s premises Flores frames Reyes as an artist-critic whose abstract work is a “gesture,” a “rustle of language,” and a musicalized geometry; he links Reyes to Mondrian, Ocampo, collage practice, and a Baroque/jazz idiom, and treats these affinities as explanatory rather than interpretive. --- Table: Premises versus Critical Rebuttals | Premise (Flores) | Claimed Evidence | Critical Problem | Alternative Account | |---|---:|---|---| | Art as gesture, not code | Poetic description of abstraction as “rustle” | Romanticizes opacity; avoids semiotic ...