Drs. Nuraini Juliastuti
- PhD candidate
- popular culture, technology, visual arts
Nuraini Juliastuti was born in Indonesia in 1975. Between 1993-1994 she studied Sociology at the Airlangga University in Surabaya. Between 1994-2001 she continued her education in Communication Studies at the Gadjah Mada University in Yogyakarta. In 2007-2008 she attended the Contemporary Asian Studies Programme at the International School for Humanities and Social Sciences at the University of Amsterdam.
Since 1999 Nuraini Juliastuti is a co-founder and director of the KUNCI Cultural Studies Center, an organisation aiming at advancing a wider critical movement to cultural issues through popular education practices and experimental approaches.
E-mail address: firstname.lastname@example.org
Nuraini is now working on a PhD project about the life of music in the digital age in Indonesia.
Music has been established as a protected cultural product. The dominant copyright regime is the essential factor that plays an important role in this process. On the other hand, the intersection between music and technology creates spaces where a series of practices and initiatives undermine the security status of music.
The webcam technology has given rise to the development of new forms of arts practices. One of the clearest and most popular forms of new media is seen in uploaded home-made, unstructured, amateur, and unedited videos to websites such as You Tube. Using remix techniques, the videos contain personal adaptations of songs and films. The video makers ignore the intellectual property of the music being remixed.
The Internet has led to the arrival of Net Labels – i.e. online platforms for free music distribution. The notion of free, or gratisan, in relation to the music distributed through the net label subverts the meaning of music that has commonly regarded as a commodified cultural product. It also questions the meaning of music as a product of the creative process of the musicians. These practices open a field of enquiry into how music knowledge is secured and gathered.
The practice of downloading constitutes the main mechanism for getting music from a net label. This technique is considered illegal and a kind of piracy. Piracy has been established as a lucrative informal economy sector, and is also the illegal-but-licit platform for gathering knowledge. As the technology is developing, rooms for nostalgia are created. In the rooms for nostalgia, both music and the old music technology are preserved and archived.
This research project intends to articulate the key moments where the dominant modes of music production are challenged, questioned and remade in everyday life. I situate the examined music practices on the dominant mode of production not only to emphasise their ‘alternative’ aspects, but also to discover how they operate within and against the dominant mode of music production. Further, this research aims to show how these practices are shaped both from the inside as well as from the outside. Using different narratives that have emerged from the current music development as sites of explorations, each chapter in this study reveals the future of music as cultural product in the digital age.
Supervisors: Bart Barendregt (Social and Behavioural Sciences), Patricia Spyer (Social and Behavioural Sciences) and Henk Schulte Nordholt (KITLV)
Book, book chapter
2013 “A glossary of illegality” in Mapping South: Journeys in South-South Cultural Relations, Anthony Gardner (ed.), Victoria: The South Project Inc.
2011 “Remembering Soewardi, Thinking about Ki Hajar Dewantara” in Wendelien van Oldenborgh: A well respected man or book of echoes, Binna Choi and Wendelien van Oldenborgh (eds.), Utrecht, Berlin, and New York: Sternberg Press
: Video activism and video distribution in Indonesia, Yogyakarta:
Kunci Cultural Studies Center and Engage Media (co-authored with Ferdiansyah Thajib)
2010 “Some explanation about the birth of an autodidactic culture” in Beyond the Dutch: Indonesia, the Netherlands, and the visual arts, from 1900 until now, Meta Knol, Remco Raben, and Kitty Zijlmans (eds.), Amsterdam: KIT Publishers
2012 “Ruang Rupa: A Conversation on Horizontal Organization” in Afterall, A Journal of Art, Context and Enquiry Issue 30: 118-125
2011 “After the house has gone: The Future for Mes 56” in Art Monthly Australia Issue 244: 12-14
2006 “Moelyono and the endurance of art for the society” in Afterall, A Journal of Art, Context and Enquiry Issue 13: 3-7
2006 “Whatever I Want: Media and Youth in Indonesia before and after 1998” in Inter-Asia Cultural Studies Journal 7 (1): 139-143