Making art requires a degree of intentionality. All works of art require a contemplative individual drawing from their bank of knowledge and immersion into the realms of memory and imagination in order to make an outward, communicative expression. Only human beings can draw upon the dialectical tension between memory and imagination to create artistic renderings.

What indeed is the half-life of a mortal consciousness? What is the half-life of a memory of that mortal consciousness? Of course, this is purely an academic question and of no immediate concern to those of us existing in the world of the living, for we possess already a memory, in its stead, which serves as a basis of our perception of the past. Accurate or not, this nature of memory allows us to understand the past according to the positions occupied by the flesh about which we seek to know, but, unfortunately, not in a way relative to the flesh itself—that flesh stripped of identity and circumstance, that flesh which, in its most rudimentary capacity, had once collided, interacted, fought, competed, negotiated, cooperated, and mated with other flesh: there is no history of this kind, thoroughly naked and telling enough, which is accessible to us, for we are composed of the very same substance, the very same flesh, and sadly incapable of stepping outside of it, even momentarily.