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    Jane's Walk 2013: Toronto, Ontario, Canada - "Garrison Creek Part 2: Planting Our Feet and Ears to the Ground" - Guided by Members of Homegrown National Park. Photo credit: Jeremy Kai. Denise Pinto is the Global Director of Jane's Walk, a charitable project of Tides Canada. Below, she writes about the project's efforts to develop new programming initiatives with the support of the Knight Foundation and in Partnership with the Municipal Art Society, creating greater opportunities for civic engagement and city-building in locales around the world.  If you happened to be in Metlika, a small medieval city in Slovenia, on the first weekend in May last year, you might have bumped into a group of people of varying ages navigating the narrow streets together. With their focus directed on places for youth to hang out, this little assembly of residents would — like many groups around the world — be touring their neighbourhood in an effort to draw together common insights about the life of the street. If you struck up a conversation with one of them, they would have said they were on a Jane's Walk.  People often ask me what is Jane's Walk and what do we aspire to do?  Jane's Walk is, first and foremost, a method of social convening. It's a global movement of people of every age, ability and income level, getting together to explore their cities on foot by inventing short walking tours to share with their neighbours. 
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    Entrevista Mariana Santos from Knight Foundation on Vimeo. Since June, Chicas Poderosas has helped more than 1,000 Latin American journalists learn digital skills and use them in their communities. Attendees at the immersive, hands-on digital storytelling workshops have researched and prototyped digital projects on water issues, agriculture, crime, elections and demographics in Chile, Colombia, Costa Rica and Mexico. Now, Chicas Poderosas is bringing its training model, network and mission to empower Latin American women journalists to excel in digital, design and data journalism to the United States. Chicas Poderosas Miami will occur April 17 to 20 at Univision and the University of Miami School of Communication. The event is organized by the International Center for Journalists (ICFJ) with the support of Knight Foundation. Chicas Poderosas was created by ICFJ Knight International Journalism Fellow Mariana Santos during her fellowship year. “There is a huge shortage of women in media technology and Chicas is reversing that trend,” said ICFJ President Joyce Barnathan. “The conference will prepare a new generation of women equipped to shape the news of tomorrow.”  
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    By K. Obolensky, Ten Thousand Things Ten Thousand Things performs plays for everyone. The word “everyone” encompasses people in shelters, prisons, chemical dependency centers, immigrant centers, ELL learners, teens in juvenile detention centers, homes for the aged, tribal colleges. adult ed centers, community colleges, detox centers, housing projects, libraries in...
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    By Stacey Holland, Forecast Public Art In 2013 The Public Art Scrambler began convening self-defined public art professionals connect with their peers in the Twin Cities. The meetings focus on issues and ideas related to public art creation – temporary and permanent – and are determined collectively at an annual...
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    Photo credit: Jessica Walden. On a spectacular second day of spring, over 500 of us who should have been at work—including me—sat outside in Mercer Village watching on a giant screen as the Mercer Bears defeated Duke in the NCAA tournament. What a team! What coaching! What dancing!   While everyone else thought Mercer didn’t have a chance, we knew better. We knew what vision, talent, solid planning and execution—and not caring who gets credit—can do. For, you see, five years ago the place we were sitting was two parking lots and a building that had been boarded up for almost 20 years. It’s now surrounded by restaurants, apartments and the Center for Collaborative Journalism, which houses the newsroom of our city paper The Telegraph. And on a brilliant Friday afternoon it was overflowing with excitement. Through the partnership of Mercer University, Knight Foundation, Historic Macon, the Community Foundation of Central Georgia and so many others, we have worked together for the past seven years to create the College Hill Corridor initiative and the Knight Neighborhood Challenge. Mercer Village is just one example of the change in the built environment here, complemented by meaningful revitalization of the Beall’s Hill and College Hill neighborhoods, creation of community gardens and the ongoing renaissance of our public parks. Events such as Second Sunday concerts in Washington Park and movies in Tattnall Square Park are giving us a reason to get out and get to know one another. It’s the people of Macon who have made this a new place we can be proud to call home.
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    Opera Carolina's "The Flying Dutchman." Photo by jonsilla.com The Ulysses Festival kicked off this past weekend, starting more than a month of arts events celebrating the 50 year legacy of the 1964 Civil Rights Act with the 2014 theme: “A Beautiful Symphony of Brotherhood.” The Festival...
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    Photo credit: Flickr user Morgan Burke. Philadelphia is part of Knight Foundation’s soul. The relationship is more than 40 years old, reaching back to the years when the Knight brothers first bought The Philadelphia Inquirer and the Philadelphia Daily News. Although the newspaper chain has passed into history, the foundation carries forward their principles and their belief in the power of information to connect people and help them shape their lives. Knight has deep local roots and a national network of ideas, and it’s fitting that those resources help mold Philadelphia. This city, more than 300 years old, is part of the American soul. It has stood at the center of life on this continent since before our country was founded. The First Continental Congress met here. The Declaration of Independence was signed here. Philadelphia was once America’s first city, with an industrial heart and a thriving population from diverse backgrounds.  That is a history we cannot take lightly. After 50 years of decline, Philadelphia has seen an increase in population, primarily associated with an influx of young talent, empty nesters and immigrants. It has been a great source of pride for many of us, but if we are to become the world-class city that we should be, that we once were, there is more work for us. That is part of Knight Foundation’s commitment to Philadelphia. Our middle class, while more educated than 40 years ago, has declined. We have about the same percentage of middle-class residents as Boston and Chicago, but that’s not good news. We have a higher percentage of lower-income residents and a smaller percentage of higher-income residents, according to a recent Pew research report, “Philadelphia’s Changing Middle Class.” In addition, about 50 percent of our new residents have a college degree but it is slightly higher for both Boston and Chicago. Furthermore, our ratio of people with college degrees to the percentage of people with less than a high school degree is 1-to-1. Boston is 3-to-1 and Chicago almost 2-to-1. That is troubling for the future of this city, with its rich history. 
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    Above: Artify, St. Paul. Photo credit: Bill Kelley. At Springboard for the Arts, we just launched a new national home for creative ideas. We’re calling it the Creative Exchange. What exactly is it? The short answer is, that it’s up to you. It’s a place for exchange: of stories, practical resources and conversation. It’s a place for artists and community members to come together to share and build connections. Creative Exchange will be built by all of us that use and contribute to it. That said, I want to share some of the thinking and people that led us to this exciting place. At Springboard for the Arts, we believe that artists are vital contributors to their communities. We are all artists on our staff, and we’ve been doing the work of connecting artists to resources to make a living and a life for the past 23 years from our offices in Saint Paul and Fergus Falls, Minn. We’ve been able to create programs around artist entrepreneurial development, artists’ access to healthcare, community supported art and artist-driven community development.
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    Knight Foundation senior adviser Eric Newton will be speaking at the Polis Annual Journalism Conference on March 28, 2014 at the London School of Economics and Political Science. He answered the following questions posed by Polis team member Emma Goodman in advance of the conference, which will focus on journalism transparency and accountability. Goodman: Do you agree with David Weinberger’s 2009 statement (since repeated frequently by journalists and media commentators) that ‘transparency is the new objectivity’? Newton: I’m not entirely sure people agree on what he meant. Is transparency a substitute for objectivity? No. Is transparency as important as objectivity? Yes. In the networked digital age, transparency is fundamental. Today, being fair means more than reporting a story’s many sides; it means being open about yourself as a journalist, a person who is searching for truth. We need to let people behind the curtain. Who are we? Why are we doing this story? What tools are we using? What’s our news ethic? But objectivity also is fundamental.  Is anyone else growing weary of how objectivity is discussed? There’s too much debate about whether a person can be neutral and not enough focus on whether a tool or a method can be.  Whether someone is acting journalistically depends on what people do, not so much on who they are.  Anyone can perform an act of journalism. The definition is situational, not occupational. Let’s apply this to a basic-yet-often-ignored journalistic task: counting a crowd. An event’s backers say 500,000 people were there at the peak. An aerial photograph, divided into grids and analyzed, estimates only about 80,000 were there. It no longer works to say, “We have no bias; we counted.  Trust us.” In social media the partisans simply shout, “You lie!” Today, the journalistic action is to show one’s work. We should publish the photo online, explain the crowd-counting method and let people check what we did themselves.  See, folks? The crowd is what it is, no matter what your personal beliefs. That’s being transparently objective. Personal information can add authenticity. You could write a column that begins: “As an environmentalist, I believe publicists who hype the size of crowds at party rallies are hurting our cause…”  Transparency can help others hold us accountable. Post the picture. Post the source documents. Explain what you are trying to do. Be humble. Use transparency to bring more to the table, not, like the bogus “he said, she said” form of objectivity, as an excuse to avoid facts. Great acts of journalism have been committed by advocacy journalists who dug for the facts and stuck to the facts.    But an open-minded journalist’s view, if truly held, is a legitimate view in its own right; neutrality is only a “view from nowhere” if it is an excuse for being obtuse.  When we are lucky the journalist’s view is a view from a wonderful place, a place of curiosity; human and imperfect, yes, where we resist the temptation to abandon accuracy by going too fast or losing perspective; but at its best a panoptic vantage point where context for a moment may become clear; a place of inquiry, where the journalist honestly doesn’t know a thing but is driven to find a tool or technique that may reveal it, in the same way that a doctor uses a CAT scan to peer inside a patient or a referee an instant replay to know if a player was out of bounds. Both transparency and objectivity serve the greater idea of fairness. While people are rarely totally objective or transparent, they can be fair by following rules and standards and avoiding the temptation to cheat. News organizations that post their ethical codes – or go further and embed source information, writer bios and ethical goals as metadata underlying their stories, or even further and write all their news algorithms, crowd-counting software and other newsbots in open source code – would be transparently objective in superb fashion.
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    Installation of "Noonday" from Jenny Brillhart. Photo Frank Casale/Emerson Dorsch The paintings of Jenny Brillhart have always been somewhat deceptive. While she incorporates collage and generally works within what could be called an architectural landscape, her works really are still life pieces. Quiet, contemplative places that...