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This specifically excludes private or corporate police organizations and elective police positions in local political jurisdictions.

b. Bona fide offer of employment. An employment offer certified by an appropriate official of a city, county, State or Federal police agency, that the applicant has passed established applicant requirements and has been accepted for entrance into a police academy, police training school or immediate employment as a public police officer. 

—— Richard Serra

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In Tuscaloosa, Ala., public, police and pigs celebrated Pig Day, a tribute to the local cops. 

——Life Magazine

The artist does not have to will a response to the "deepening political crisis in America." Sooner or later the artist is implicated or devoured by politics without even trying. My "position" is one of sinking into an awareness of global squalor and futility. The rat of politics always gnaws at the cheese of art. The trap is set. If there's an original curse, then politics has something to do with it. Direct political action becomes a matter of trying to pick poison out of boiling stew. The pain of this experience accelerates a need for more and more actions. "Actions speak louder than words." Such loud actions pour in on one like quicksand-one doesn't have to start one's own action. Actions swirl around one so fast they appear inactive. From a deeper level of "the deepening political crisis," the best and the worst actions run together and surround one in the inertia of a whirlpool. The bottom is never reached, but one 

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keeps dropping into a kind of political centrifugal force that throws the blood of atrocities onto those working for peace. The horror becomes so intense, so imprisoning that one is overwhelmed by a sense of disgust.

Conscience-stricken, the artist wants to stop the massive hurricane of carnage, to separate the liberating revolution from the repressive war machine. Of course, he sides with the revolution, then he discovers that real revolution means violence too. Ghandi is invoked, but Ghandi was assassinated. Artists always feel sympathy for victims. Yet, politics thrives on cruel sacrifices. Artists tend to be tender; they have an acute fear of blood baths and revolutionary terror. The political system that now controls the world on every level should be denied by art. Yet, why are so many artists now attracted to the dangerous world of politics? Perhaps, at the bottom, artists like anybody else yearn for that unbearable situation that politics leads to: the threat of pain, the horror of annihilation, that would end in calm and peace. Disgust generated by fear creates a personal panic, that seeks relief in sacrifice. Primitive sacrifices controlled by religious rites were supposed to extract life and death. The blind surge of life, I'm afraid, threatens itself. Modern sacrifices become a matter of chance and randomness. Nobody can face the absolute limit of death.

Student and police riots on a deeper level are ceremonial sacrifices based on a primal contingency——not a rite but an accident. Nevertheless, because of media co-option, the riots are being structured into rites. The students are a "life force" as opposed to the police "death force." Abbie Hoffman makes reference to William Golding's Lord of the Flies on page 184 of Revolution for the Hell of It; Golding's pig devil surrounded by flies is compared by Hoffman to an "unbelievable smell of decay and shit." Golding's novel abounds in images of piggishness; there is the fact boy called Piggy, and the rotten head of a pig. The overall mood of the novel is one of original disgust. One must remember that this novel was very popular with students some years ago. Life is swollen like Piggy and this is disappointing, the clean world of capitalism begins to stink, "the sexual channels are also the body's sewers" (George Bataille), nausea and repugnance bring one to the brink of violence. Only the fires of hell can burn away the slimy, maggot-ridden decomposition that exists in life; hence Revolution for the Hell of It.

"Then the rest joined in, making pig-dying noises and shouting." (Lord of the Flies). As time goes by, pollution and other excreta are liable to turn the planet Earth into a more horrible pigpen. Perhaps, the moon landing was one of the most demoralizing events in history, in that the media revealed the planet Earth to be a limited closed system, not unlike the island in Lord of the Flies. As the Earth thickens with blood and waste, as the population increases, the stress factor could bring "the system" to total frenzy. Imagine a future where eroticism and love are under so much pressure and savagery that they never veer towards cannibalism. When politics is controlled by the military, with its billions of dollars, the result is a debased demonology, a social aberration that operates with the help of Beelzebub (the pig-devil) between the regions of Mammon and Moloch. 

——Robert Smithson 

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May the immediate political response be that as a human being all I can comment upon is what action an Artist could take and to even imply what action Artists should take would constitute a fascism as abhorrent if not more repugnant as that which has brought the sorry situation to bear originally.

The major problem still remains the same: the old esthetic workhorse of content and intent. Art as it becomes useful, even to the extent of entering the culture, becomes for me no longer Art but History. History being perhaps the most viable tool of Politics. All Art as it becomes known becomes Political regardless of the intent of the Artist.

All Art then is capable of becoming political by its own or by the volition of the culture, changing via this process from Art to History.

So-called Art whose original intent and most often content is political or social does not concern me as an Artist. They are for me only varied forms of sociological propaganda; albeit sometimes extremely creative advertising.

I accept fully the responsibility for the position of my Art in Culture Politics —— but hold firmly that my actions as a man constitute only that. The political and sociological actions of one man with no vocational trimmings as props.

Artists are but one vocational unit in a sociological system and if I believe that their political and social opinions or needs were either above or below any other vocational unit, I should cease my activities.

Be there hopefully a day when men no longer need any other title than man to function politically. Then perhaps there shall be no political function for them.

——Lawrence Weiner