invocation

So my claim is that the specific difference between the momentum of appropriation in the 1980s and today lies in a decisive shift in the relation to the object of appropriation—from the re-use of a dead commodity fetish to the invocation of something that lives through time—and, underlying this shift, a radical transformation of the experience of the historical situation, from a feeling of a general loss of historicity to a current sense of an excessive presence of history, a shift from not enough to too much history or rather too many histories.

Verwoert, Jan. “Living with Ghosts: From Appropriation to Invocation in Contemporary Art,” Art & Research, vol. 1, no. 2 (2007), accessed September 26, 2016, http://www.artandresearch.org.uk/v1n2/verwoert.html
pdf