Let it be said that the death penalty is nihilism and it's bad.
I don't know about god, but I've learned that setting the stage for things is more important than projecting the outcomes of those things.
Where the stage is set for us, it is easier to imagine stage left and stage right, up to the lights or through the trapdoor; easier to see the smiles or jeers of the audience than the subtle, robust nature of globally hybridized forms of complexity. Worst of all, we allow advertising psychology to pry into our own homegrown microcosms of complexity and reflections of the almighty Now: our children.
Paring away an external image-shod sphere of reality reflected to a viewer, past the intricacies of paradigms fishing for truth, past the pragmatic commerce we're subject to drowning in, there we've held a simple task since birth: observe, go on, or give up. Implicit in all those is an infinite lot of decision making (again with the biology and history).
When two sides clash, the product is defined by a deciding factor or a bird-shot set of deciding factors. I do not really deem myself worthy to construct stick figures of quasi-mathematical anecdotes of reality, but here goes.
picture two cones made of light, the narrow ends locked together. The cones are made of very complex laser light with many amazing properties. The cones are dancing, the narrows between the hips and the shoulders are two battling tips of Tornado cyclones, though if this imagery scares you, then picture a cyclone of rose petals instead. So the rose petals are swirling in a patterned trajectory, but if time were to slow down to the point where it almost stops, we'd observe that same laser light projecting the three dimensional surfaces of the things we see (and seem three dimensional to us in normal time). At super slow time we'd be able to stop and observe the particles that make up this laser light, and we'd find they have amazing properties (which also coincidentally remind us of properties of many other aspects of the world surrounding us). At super fast time we'd observe how there are perhaps many light cones like this one but with subtle differences (since we apparently live in a universe filled with distorted mirrors with anti-entropic properties). Fast time would enlighten our understanding of the properties of one dancing light cone by allowing us to observe slightly variant population members within context of the entire population. No matter how fast or slow we make time however, someone in the future will observe more closely than we are able or change time or optics to bring our own findings into question (possibly - depending on the outcomes of hypothesis testing). Besides, if we look to closely or too long at such powerful ideas, we'll start to lose sleep over it, and that isn't really very good for you now is it.
So why are the cones dancing? Well, the music is compelling. We dance to the same music, though we can't hear it the same way light does. The music is like the smoke that the light is visible on - the backdrop of existence and the creamy potage we all sup from. The dancing takes the form like so many other things of distorted mirrors in a rational fun house. The closest we can come to explaining such unrational rationalities is that mathematics is a glass sphere with every possible mathematical formula etched into it. This sphere then is crammed into the music making esophogas of the epidermal layer immediately outside the universe - thus everything popping out of this space-time fabric is corollary gossamer in powers of binary geometries that evolve wings to counter entropy elsewhere by propogation.
If we look at the cones we see that one of them is stronger and clearer, while the other is a faded image of the other with subtle changes. The amazing properties of the composition of these two cones (other than they're burned into being by the ping pong pronouncements of light at hyper-intesnse speeds) is that by looking really really close, you see the cones have a music all their own which is rippled radially and axis-trajectoried along each half of the double cone. There are specialized zones along the ripply, unpredictable, but beautiful sheen of cone dermis. Some regions specialize in inputting from things outside the cone-body. Other regions focus on expelling conal material, while still others focus on translating inputs into considered and appropriate outputs.
By far the most amazing property of these cones are that they talk to each other and sometimes help each other into complex organizations through spontaneous self-governance. The subtle and plying music of language stems from the skin of the cone, the music it hears, the dance it does, the words it chooses, the other cones around it, and most of all, the constant music of creation that everyone hears all the time and that goes into everything that is made. However the quantum level cone property became the relativistic cone property, so the emptiness of before the universe was filled with after the universe.
For whatever reason lately, I've been thinking that acute and obtuse have become very apparent in our society as angles that people take on life. George Bernard Shaw said that reasonable men adapt themselves to the world around them (obviously people who took acute angles in their analysis of the geometrics of the world), while unreasonable people (obtuse) make the world adapt to them. Acute angles are sharp, specific, pointed, and trend (lately) toward being a bit too narrow to truly cast a wide enough net to the voting masses (despite their particular correctness on the issue they're pointed at). Obtuse people are dull, broad, and cast a wide tent for their ilk. Both acute and obtuse aren't right as a right angle. Right angles say the truth is normally in the middle somewhere, it's specific location unknown but the direction is indicated. Sadly the middle way is never right either pragmatically or morally, but attempts to take the strenghts of both - not just map and not just compass, but both together. It is especially in this way that broad historiography would reveal elegent decision geometries - the fundamentals of a society will predictably hinge on outcomes of competition, and compassion and conflict will swing dance through humanoid landscapes casting geometries of future events as it flourishes to capture the details of such a mind-bogglingly rich tidal zone of laser light against the smoky music.
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