Try and Catch the Detroit Judith is a video composition created in 2023. The content is an original, personal story that layers appropriated film clips, images and sounds; and references real history as a thesis supposition is built and presented. The thesis demands recognition of a pervasive subculture of storytelling that intersects with astrophysical narratology. Because the layers work together like gears to dig into deep, shrouded meaning within the copyrighted materials, eg the clip from Try and Catch Me, starring Peter Falk and screen legend Ruth Gordon, I do not consider the inclusion of these materials to be infringement or depreciation to the originals; but a keyhole through which a viewer can also learn the symbolic vocabulary so that they may also understand the world around them, as told by the sub-story. I propose that if someone objects to the layering of the copyrighted materials, it is because they believe they (the objector or the materials) do not want to expose the code, for whatever reason.
One very good reason to want the code to stay shrouded is the Family Pact instituted by Anna Maria Luisa de Medici in 1737. Through this, the last member of the Medici family formally decreed that their immense artistic and historical legacy had to remain linked to Tuscany and that the vast family collections of decoration and portraiture forever stay in Florence. Make no mistake: The Detroit Judith is perhaps the most beautiful portrait of Mary Magdelena Medici ever painted - but to admit that might be to also admit that it belongs in Florence. But: does it? Does the narratology that structures the painting, that presents the proof that caused suppression of astronomy and physical geometry (except for war tools) belong back in the hands of those who wanted to hide it? To this, we might say “symbolism is a kind of testimony, but the duplicity belies real accusations or proof.”
Pivotal: whether time goes forwards or backwards, it all depends on whose ox is being slaughtered.