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Alfred Antony Francis Gell,FBA (/ɡɛl/; June 12, 1945 – January 28, 1997) was a British socialanthropologist whose most influential work concernedart, language, symbolism andritual. He was trained byEdmund Leach (MPhil,Cambridge University) andRaymond Firth (PhD,London School of Economics)[1] and did his fieldwork inMelanesia and tribalIndia. Gell taught at the London School of Economics, among other places. He was also aFellow of the British Academy. He died of cancer in 1997, at the age of 51.[2]
In his posthumously published 1998 bookArt and Agency, Gell formulated an influential theory of art based onabductive reasoning. Gell argues thatart in general (although his attention focuses on visual artifacts, like the prows of the boats of the Trobriand islands) acts on its users, i.e. achieves agency, through a sort of technical virtuosity. Art can enchant the viewer, who is always a blind viewer, because "the technology of enchantment is founded on the enchantment of technology" (the title of a previous essay on aesthetics by Gell isThe Technology of Enchantment and the Enchantment of Technology, 1992). Gell closely follows different forms of effectiveness of 'technical virtuosity' of the artist. For him it comes to a stylistic virtuosity, able to get some sort ofliving presence response, reacting to works of art as if they were living beings or even people acting (agency), entering into a personal relationship with them, triggering love, hate, desire or fear. In this way for Gell works of art, in all cultures, are able to create shared common sense, especially through reasoning withabduction, which already in Aristotle is a less strong inference thaninduction anddeduction, more intuitive and concise. Gell takes it from the linguistCharles Sanders Peirce as a case of syntheticinference, where you are in very strange circumstances, which could be explained by the supposition that it is a case obedient to some rule, and therefore we adopt such a supposition.[3]
Artworks therefore mediate social agency by using the logical mechanism of abduction: those who observe the works of art do abductions about the intentions of those who produced them, or even just exposed them to public use. The logical mechanism of aesthetical abduction for Gell is a transcultural one. In his seminal works, "The Enchantment of Technology and the Technology of Enchantment" (1992), andArt and Agency (1998) he draws together the ways of acting in idolatry, fetishism, and witchcraft with contemporary Western art to illustrate the commonalities in how objects mediate and act on social relations.
