It is hard to imagine a model of creative destruction that treats non-deterministic play as sacred, and deterministic process as profane. Institutions, as we have been able to conceive them so far, are deterministic beasts, not playful ones. For Martinet-Mom institutions, security is sacred and pain is profane. For Deadbeat-Dad institutions, romance is sacred and inertia is profane. When the two are divorced, romance sours into pain, security ossifies into inertia, and revolutions are stillborn. Yet, neither notion of the sacred captures play. Play turns possibility into necessity via a sense of absolute aesthetic certainty, and necessity into possibility by irreverent undermining of pious dogmas.