Main Focus

  • Digital Aesthetics
  • History of Technology
  • Material Aesthetics

Publications (Selection)

  • Faking, Forging, Counterfeiting: Discredited Practices at the Margins of Mimesis, ed. Daniel Becker, Annalisa Fischer and Yola Schmitz, Bielefeld: transcript 2018.
  • "Water – Liquidity as Digital Form", in State of the Flux. Aesthetics of Fluid Materials, ed. Marcel Finke and Friedrich Weltzien, Berlin: Reimer 2017, pp. 157–173.
  • "Atlas or oracle? The concept of the archive between Warburg and the online database", ZKM-Blog: Atlas or oracle? [2/11/19]
  • "What you see is what you get – Das Porträt im Angesicht des Digitalen", in Hermeneutik des Gesichts. Das Bildnis im Blick aktueller Forschung (Mnemosyne, Volume 4), ed. Uwe Fleckner and Titia Hensel, Berlin: De Gruyter 2016, pp. 81–100.

Curriculum Vitae

Daniel Becker studied art history and German language and literature in Hamburg, where he wrote his master's thesis on Narcissus in Media Art. His focus is on contemporary art, digital aesthetics and the history of art and technology. From 2012-2014 he worked on the digitization project of the Hamburger Kunsthalle. From 2014-2018 he was a scholarship holder at the International Doctoral Program Mimesis of the Ludwig-Maximilians-University Munich and is doing his doctorate there on the topic of Schnitt-Stellen. Aesthetic implications of interfaces. Since February 2019 he is a research assistant in the department of Tristan Weddigen. Here he is pursuing a project on The Aquatic and Fluids as a Sculptural Element in Italian Art.

Memberships/honorary positions
Member of the scientific network (DFG): Fluidity. Materials in motion

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