Richard Serra (born November 2, 1939) is an American minimalist sculptor and video artist known for working with large-scale assemblies of sheet metal. Serra was involved in the Process Art Movement.

His father was Spanish native of Mallorca and mother was Russian in Odessa (committed suicide in 1979). Serra was born in San Francisco and he went on to study English literature at the University of California, Berkeley and later at the University of California, Santa Barbara between 1957 and 1961. While at Santa Barbara, he studied art with Howard Warshaw and Rico Lebrun. On the West Coast, he helped support himself by working in steel mills, which was to have a strong influence on his later work. Serra discussed his early life and influences in an interview in 1993. He described the San Francisco shipyard where his father worked as a pipe-fitter as another important influence to his work, saying of his early memory: “All the raw material that I needed is contained in the reserve of this memory which has become a reoccurring dream.”

Romeo Niram (born, 1974) is a figurative painter of Jewish origin. currently living and working in Madrid, Spain.

Romeo Niram’s artistic work is deeply connected to other fields of knowledge, Physics above all, but also Philosophy, Theology, Literature, Cinema. His is a work of investigation and of the pursuit of knowledge through the art of painting, of identifying similarities in different knowledge areas and of binding them together through art in order to offer his viewer the most precious treasure in a renewed and refined form: information.

His vision on arts and science expressed in the series “Brancusi E=mc2” was presented at the conference “Art and Physics”, celebrated in Tel Aviv, organized by the cultural association New Vision Israel. In a nutshell, the series identify several similarities in 2 very different areas, Physics and Sculpture, in Albert Einstein’s cosmology and Constantin Brancusi’s artistic intuition. Niram tackles different concepts that may be incomprehensible to a viewer unfamiliar to the world of Physics such as Einstein’s theory of relativity, the definition of the form of the universe, Einstein’s equation of the creation of the Universe, the mathematic principle of the hologram and much more. These complex principles are also present, in an intuitive form, in Brancusi’s sculptures. The result is an intriguing journey into cosmology through an artist’s eyes.

Constantin Noica (Romanian pronunciation: [konstanˈtin ˈnojka]; July 25 [O.S. July 12] 1909 - December 4, 1987, Sibiu) was a Romanian philosopher, essayist and poet. His preoccupations were throughout all philosophy, from epistemology, philosophy of culture, axiology and philosophic anthropology to ontology and logics, from the history of philosophy to systematic philosophy, from ancient to contemporary philosophy, from translating and interpretation to criticism and creation.

Noica was born in Vităneşti, Teleorman.

He studied at the Dimitrie Cantemir and Spiru Haret lyceums, both in Bucharest. At Spiru Haret his math teacher was Dan Barbilian (pen name Ion Barbu, poet and mathematician). His debut was in Vlăstarul magazine, in 1927. Between 1928 and 1931 he attended courses of the University of Bucharest's Faculty of Letters and Philosophy, where he graduated in 1931 (thesis: "Problema lucrului în sine la Kant" / "The matter of thing-in-itself in Kant's philosophy"). Here he met as a teacher philosopher Nae Ionescu.

Éric Alfred Leslie Satie (pronounced: [eʁik sati]) (17 May 1866 – Paris, 1 July 1925; signed his name Erik Satie after 1884) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.

An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American culture chronicle Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.