In his 1998 book Art and Agency, Gell formulated an influential theory of art based on abductive reasoning. Gell argues that art 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 is The 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 of living 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 with abduction, which already in Aristotle is a less strong inference than induction and deduction, more intuitive and concise. Gell takes it from the linguist Charles Sanders Peirce as a case of synthetic inference, 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.Gell, 1998, 18
