QUES: According to the Omnipotence paradox or 'Paradox of the Stone', can God create a stone so heavy that he cannot lift it? Either he can or he can't. If he can't, the argument goes, then there is something that he cannot do, namely create the stone, and therefore he is not omnipotent. If he can, it continues, then there is also something that he cannot do, namely lift the stone, and therefore he is not omnipotent. Either way, then, God is not omnipotent. A being that is not omnipotent, though, is not God, according to many theological models. Such a God, therefore, does not exist. Several answers to this paradox have been proposed.

What is the Omnipotence paradox?
What is the answer?
ANS: can God create a stone so heavy that he cannot lift it
QUES: Forest gardening was also being used as a food production system in various parts of the world over this period. Forest gardens originated in prehistoric times along jungle-clad river banks and in the wet foothills of monsoon regions.[citation needed] In the gradual process of families improving their immediate environment, useful tree and vine species were identified, protected and improved, whilst undesirable species were eliminated. Eventually superior foreign species were selected and incorporated into the gardens.

When families were trying to ruin their immediate environment, undesirable species were what?
What is the answer?
ANS: unanswerable
QUES: The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, Frantisek Kupka, Diego Rivera, Leopold Survage, Auguste Herbin, Andre Lhote, Gino Severini (after 1916), Maria Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Leger that stress iconographic and ideological questions rather than methods of representation."

Who was the main opponent that began to agree that the flat canvas did not support Cubism?
What is the answer?
ANS:
unanswerable