Cadenza Arthouse

This page describes how Cadenza Arthouse reports, sources, and corrects its work. It is the practical companion to our editorial values — values say what we care about; this says what we actually do before a piece is published.

We publish it because a reader has no way to judge a small independent outlet except by what it commits to in the open, and because a standard nobody can read is not a standard.

Sourcing and attribution

Every claim that can be checked names its source in the story itself, not only in our files. When we report a figure somebody else counted, a characterisation somebody else made, or anything a reader might reasonably want to verify, we say where it came from.

How much corroboration a claim needs depends on what it costs to be wrong. An uncontested public fact needs one reliable source. A statistic or a toll needs a recognised monitor or primary body, named in the text. A claim that could damage somebody needs two independent sources, or a primary document, and the step below.

Where we cite our own earlier reporting, we say so. Quoting ourselves without attribution would manufacture a second source out of one.

Fairness

When we make a specific allegation about a person or organisation who can be reached, we contact them for comment before publishing, and we tell you what happened — including when there was no reply.

We are a small newsroom and we say plainly what that means: we will not pretend to have sought comment from a government or a distant institution we could not realistically reach. In those cases we attribute the claim to the body that documented it and leave the reader able to check it.

Where something material could not be established, the story says so rather than smoothing over it.

Quotes

Quotations come from recordings, transcribed at publication quality and checked against the tape by ear before print. We do not tidy grammar inside quotation marks, merge two separate answers into one quote, or trim a sentence in a way that changes its sense. Where words are cut, you will see an ellipsis.

Where the question shapes the answer, we tell you what the question was.

Names

We use the spelling a person uses for themselves — their own book, byline, or organisation — over a flyer, a caption, or a social media post, even when the other spelling is more common.

We do not publish a name we have not confirmed. Where someone appears in our photographs or coverage and their name is not established, they are described by role rather than named incorrectly.

Telling you what you are reading

Every piece is labelled by kind: news, analysis, opinion, review, or sponsored. Reporting and argument are different things and you are entitled to know which one is in front of you.

This matters here for a specific reason. Our founder also makes creative, spiritual, and comedic work under his own name. That work is real and we are not hiding it — but it is not journalism, it does not appear as journalism, and the reporting does not carry its opinions.

Photography

Our photographs are documentary. We do not stage news scenes, and we do not alter the content of an image beyond ordinary adjustments of exposure, colour, and cropping that do not change what happened.

Photographs carry written descriptions so that readers using a screen reader get the same account of the picture as everyone else. Those descriptions are held to the same standard as any other published text, including on names.

Corrections

When we get something wrong, we correct it in the open. A correction is a dated note on the story saying what was wrong and what is right — not a quiet edit. We correct with the same prominence as the error: a mistake in a headline is not fixed in a footnote.

We keep the record of what we originally said. An archive that erases its own mistakes cannot be checked by anyone, including us.

If you believe something we published is wrong, tell us: [email protected]. If it concerns you personally and we can reach you, we will tell you what we changed.

The archive behind the stories

Cadenza Arthouse keeps a permanent working archive — photographs, recordings, transcripts, documents and research notes — behind everything it publishes. Each published claim traces back to something in it, with a date attached.

Most of that archive is not public, and much of it never will be: it holds material about private people who did not ask to be written about. What we publish is the part that has cleared that decision.