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Momentography of a failure brings essays, timelines, film, photography, and a series of conversations together to deal with Ethiopia's controversial urbanisation and the transformative space of the city. It explores the gradual transition of rural-urban space, inner-city migration, emerging and disappearing spaces, and commoning in public space. Momentography of a failure is established at the verge of a hyper-documented world, a hybrid space of digital sociability. While the media production, its reception, and distribution was pluralized by digitization, practices such as "media-sharing" and "citizen journalism" established new conditions for visibility, reinvented the authorial image, and promoted yet another dematerialization of authorship. The author camouflages in the cloud(s). Adoption, appropriation, and recycling are standardized. Authorship becomes secondary to content and alternative models of authorship are formulated: co-authoring, collaborative creation, interactivity, and strategic anonymity, in which cultural activism is reinforced. Momentography of a failure sets out on this point and draws up a multidisciplinary artistic and urban research platform that calls for practicing forms of participatory citizenship through collaborative thinking, creation, and reflection. Momentography of a failure is a network of artists, urbanists, writers, and activists that stand where aesthetic-artistic practice and sociopolitical activism come together to explore failure--and its various realities--and claim, reaffirm, and dream alternatives

The focus of the present research is to reconstruct the original meaning of the culturally dense term Ved. dákṣiṇā / Pa. dakkhiṇā, which, in the late Vedic language, specifically means the gift due to the priest who officiates the rite in favour of a patron. The discussed data make it possible to postulate a com- pletely different meaning for this term in the early Vedic texts, where it is used to evoke an 'auspicious condition' prototypically proper to a successful leader, both as an effect of previous glorious deeds and as a possible cause of further prosperity. We propose that in the Vedic context this term should be translated as 'magnificence', in which we distinguish two facets, namely: a more abstract one, that is magnificence in potency, as a result of past merits and often associated to the gods' favour, and magnificence in action, i.e. the (sometimes material) outcome of such a condition. The latter may become the crucial ingredient of a simple devotional act of offering. Albeit with the expected differences, we find also in Pali sources a comparable emphasis on such an act of offering, in particular when addressed to a worthy recipient. Indeed, retrofitting the late meaning of dakṣiṇā/dakkhiṇā to the earlier cul- tural and linguistic stages leads to a miscomprehension of many relevant pas- sages and pivotal features of both Vedic and early Buddhist ancient religious and political ideology. This is why we dedicate the last part of the paper to investigating how this assumed notion of 'magnificence' matches with what we know about the most ancient Indo-Aryan societal forms and with what is assumed about the evolution of these forms. We hope in this way to be able to add a crucial element to the interpretation of the cultural dynamic at work between the Buddhist and Vedic cultures, a dynamic characterised by some unresolved tensions such as preservation versus innovation and identity con- struction versus syncretic strategies.