Otto Beckmann owes his significance, from today’s perspective, primarily to computer art. After his graphic, including surrealist, works and successful commissions for public spaces, he increasingly turned to algorithmic methods again in the 1960s. In 1966, he founded a working group for computer art, “ars intermedia,” and networked with the international scene of Concrete Art and computer art. From 1970 onward, Beckmann worked on a “studio computer” designed specifically for him, the results of which he translated into the media of sculpture, photography, film, lasers, and sound. This resulted in visionary architectural scenarios, laser graphics, computer films, and sculptures. However, Beckmann also continually explored phenomena beyond rational experience, as he was not interested in art that was solely absorbed by technical processes and methods. Works from the 1950s and 60s reference religious esoteric teachings, while from 1970 onwards, fetishistic sculptures were created from found objects in the tradition of the surrealist “objet trouvé.” Thus, Beckmann always moved between magic and calculation, mathematics and mysticism.