Multimodal Analysis of Photos in @Sandiuno Instagram Account Before and After the 2019 Presidential Election

The development of digital technology in the past ten years has been transforming the media forms. New media are emerging and presenting its characteristics that blur the boundary between the sender and receiver. New media empowers the receiver to take part as content providers. Then, recently we can see there are new media platform produced by people who previously only became the contents recipients. This media can be an alternative in the dominance of large industrial media. De-professionalized, de-capitalized, and de-institutionalized are the characteristics of alternative media. Mojok.co is one of the examples of the alternative media. In order to maintain its existence, there are problems need to be concerned, especially financial issues. Mojok.co is also considerate to this issue, and once became the crucial case. As an alternative media, Mojok.co run into financial problem, that forced this site to accepted the fund from investor. The involvement of the investors to the media life encouraged the rethinking of the three characteristics of alternative media, which is already mentioned. Investment presents new problem, such as the problem of ownership and control. Those problems will provide many changes in the production of alternative media content. The investment of Tirto.co to Mojok.co implicated to the changes of Mojok.co. Mojok.co lost its independence. There are some requirements charged by Mojok.co, such as certain targets to achieve page views. By pursuing view, Mojok.co actually has no difference from others digital media assigning Alexa rank as the indicator of the achievement of the media. Ideologically, Mojok.co stated that this site would not take sides with certain ideologies. Accommodating all ideologies indicates that Mojok.co is trying to reach all targets. For this reason, a study of political economy needs to be done to understand the problem. Through the study of political economy, this research found the control mechanism, the shifting of editorial policies and the production practices of the Mojok.co after Tirto.co’s investment. Commodification of content become a policy in editorial for gaining more readers.


Communication Patterns in the Development of Life Skills at the Darul Fallah Islamic Boarding School in Bogor Regency
Mediating the Lifestyle of Metrosexual on Instagram (#priadewasa,#ganteng): Consumption and Identity --Rama Kertamukti--

INTRODUCTION
Technology development has shaped the way we communicate each other. New media also built a new mode of communication (Kurnia, 2006). Terry Flew argue the idea of new media captures both the development of unique forms of digital media, and the remaking of more traditional media forms to adopt and adapt to the new media technology (Situmorang, 2012). Today generation is multimedia generation, who accessed internet in everyday life (Darwadi, 2017). They are actively try to get information in internet based on their needs (Nurrahmi & Farabuana, 2020;Rianto, 2016).
In the era web 2.0, audience behavior changed. O'Reilly mentioned the characteristic of web 2.0 as follows: "…radical decentralization, radical trust, participation instead of publishing, users as contributors, rich user experience, the long tail, the web as platform, control of one's own data, remixing data, collective intelligence, attitude, better software by more users, play, undetermined user behaviour" (Fuchs, 2014). Public participation is an ideal activity in web 2.0, but previous Muria Endah Sokowati's previous research show it is not implemented yet when describing users' discussion and activism in social media. The users' voice and expression in social media are not public participation (Sokowati, 2019).
Mojok.co is an online-based news portal published on August 28, 2014, which has a unique characteristic. The uniqueness lies in how this media presents content with a different perspective from other media. Mojok.co's content is fun, funny, sarcastic, and satirical.
This unique characteristic is based on Mojok.co's creative content strategy. The other strength of Mojok.co is the community engagement as its media strategy. Highlighting creative content and community approaches makes Mojok.co known as an alternative media. As the implication, Mojok.co prioritizes the existence of content innovation, both in style, rubrics and graphical display.
The investment of Tirto.id resulted in some changes in the articles production of Mojok.co, such as the greater number of rubrics, expanded viewer segments, blur ideological positions, and less satirical and humorous language styles. Mojok.co began to lose indepen-dence in producing contents. Pursuing Alexa ranking and planning to sell spaces for advertisement is Mojok.co's consideration that was previously unthinkable.
There are consequences for Mojok.co after the investment. First, Mojok.co should widen the viewer's target. Now, Mojok.co is targeting its product to viewers in the age range 18-24 years. Second, relating to the efforts to pursue Alexa web ranking, Mojok.co's personnel are now working under certain targets. There are no more fun work routines, because everything is under quite tight targets. The investment of Tirto.id implied to Mojok.co's independence: more contents, the change of Mojok.co's character of the published articles, the different style of writing (become too serious), and also the indistinct ideological position.
Those clues indicate Mojok.co begins to lose its independence.
Justifying Mojok.co as an alternative media or not is not simple, because it is not only about the independence of the media. John Downing stated that alternative media is often simplified as a media that is different from the mainstream media. He reminded that alternative media became difficult to categorize considering alternative media have different approaches and executions of storytelling and reportage. Kenix further explained that the definition of alternative media never fixes depending on the contemporary culture surrounding it. For this reason it is necessary to understand the cultural context to analyze alternative media (Kenix, 2006). New media become common platform for alternative media (Downing, 2001). In Indonesia, the utilization of cyber media by actor and political institution, and especially by the Indonesian people still not maximum, even cyber media give an opportunity for as communication media which "inclusive, egalitarian and liberal" (Adriana, 2013).
Determination of technology allows democracy to present through mediated movements (Mirsel, 2004). Technology related to communication system. One of the real manifestations of the communication system is the significant work of communication media (Croteau & Haynes, 2000).
Considering the spirit and commitment of Mojok.co from the beginning up to the postinvestment, it shows the alternative spirit. It refers to the commitment to engage with the community through its contents. Alternative media in disseminating its contents is more oriented to relations with the viewers' community rather than merely conveying information (Atton, 2006). Commitment to community engagement has implications for the other character of alternative media: the commitment to innovation. Chris Atton stated that social media always puts innovation (Atton, 2006). Mojok.co has uniqueness in terms of content, starting from the rubrics, language style and graphic design as the means to get close to the viewers' community. These characteristics lead Mojok.co to still deserve mentioning as an alterna-Nyimak Journal of Communication, Vol. 4, No. 2, September 2020 tive media. In addition, Chris Atton also mentioned that alternative media provides interpretations of events through different perspective from other media (Atton, 2006). It was also found in Mojok.co content.
The alternative media should be deprofessionalized, decapitalized, and deinstitutionalized (Hamilton, 2011). Of the three characters, only Mojok.co owns the first character, deprofessionalized. Most Mojok.co's crews do not come from media professionals. According our interview with Mojok.co's, they had no formal background in the media before. Most of them are writers and bloggers. Sukmono and Junaedi's research show journalism practice in alternative community media was run by volunteerism (Sukmono & Junaedi, 2019 Reaching widen target of viewers lead to the indistinct position of Mojok.co. Mojok.co needs to consider to all perspectives of the viewers. Instead of being fair, the indistinct of Mojok.co's position strengthened the assumption that Mojok.co played it safe so that it could get into all circles and not lose certain groups of viewers. The main goal again is to increase Alexa ranking. Therefore, Mojok.co has no commitment to social change by supporting minority issues. This is certainly not an alternative media. Joshua Atkinson stated that the main characteristic of alternative media is having non-commercial sources and trying to have a critical social role and challenging existing power structures by supporting ideas such as anti-capitalism, consumerism, patriarchy and so on (Artkinson, 2006). Mentioning Mojok.co as an alternative media still applies to a number of things, but it doesn't fit in others. Thus the dualism of alternative vs. mainstream media is no longer relevant in the Mojok.co case. Previous research on local alternative media, namely Literasi.co, was build on self consciousness in marginalization of grass root issues by mainstream media (Maryadi & Adiprasetyo, 2018) This study attempts to describe the implications of Tirto.id's investment in Mojok.co.
There are two things that are the focus of attention: the problem of control and ownership.
By understanding these two problems, then this research will bring discussion to the question whether Mojok.co still deserves to be called alternative media?

METHOD
There is mechanism of control as the implication of Tirto.id's ownership of Mojok.co.
Problems of ownership and control using the perspective of the political economy of the media will be the focus of this study. The study of the political economy of the media sees the media as political institutions and economic institutions that have the power to influence audiences. This study is a study of social relations, especially power relations relating to issues of production, distribution, and consumption, including communication (Mosco, 2009). As a result, media content is more determined by economic and political forces outside of media management. Factors such as media ownership, capital and media income largely determine the production of content of the media. Through the perspective of the political economy of the media, Mosco focuses on three stages: commodification, spatialalization, and structuration by media owners in making a profit. This research focuses more on the first stage, commodification (Mosco, 2009).
Commodification, according to Mosco, is a transformation process of valuable products to sell. It is the way of capitalism in achieving its aim to accumulate capital by transforming the use value into the exchange value. The media industry is one of the institutions that runs the production and distribution of messages to make capital accumulation using the practice of commodification (Mosco, 2009). The capitalist starts this process by purchasing valuable products, then resale it with the greater value than the value issued at the beginning of the investment. Any additional value or surplus value is reinvested to increase capital accumulation. In the study of political economy of communication, commodification focuses on content, audiences and labor in the industry of communications. Commodification of content relates to the issues of media content distributed to the public. Audience commodification associates the media ratings for advertisers' interests. Whereas the commodification of labor explains how the holders of media powers exploit media workers.
Commodification is synonymous with commercialization.
Digital technology has brought a very different media landscape. Online media operates with very different organizational logic. If mass media is hierarchical, linear, centralized and one-way with media content from multiple producers to multiple recipients; online media is networked, non-linear, multi-directional. The logic of digital media is shaped by the quality and capabilities of digital technology, which is superior to mass media technology because digital technology is far cheaper and more efficient in several ways (Wittel, 2012): (1) It can mediate old forms of media such as text, sound, pictures and moving images as digital codes; (2) It can integrate communication and information, or communication media (letters, telephone) with mass media (radio, television, newspapers); (3) As the digital objects, Nyimak Journal of Communication, Vol. 4, No. 2, September 2020 it can be endlessly reproduced at a minimum cost; and (4) This media can be distributed at the speed of light.
These advantages need to consider in conducting political economy analysis for online media. One important topic in online media is the issue of ownership of the production equipment. In the age of online media, the means of production have become more democratic. Users have easy access via computer and the Internet and basic computer skills have the potential to produce media content. But they don't have distribution facilities and online content storage facilities. They are in the hands of several media conglomerates. The media conglomerates, then, control the flow of information.
Therefore, in analyzing media content, Apuke emphasized that the product or content of media can be shaped by the interests of the company, the interests of the owner and the ruling class. For this reason, in online media, sources, content providers, and information producers upload content to protect certain interests or ideologies (Apuke, 2017). So, although there is free access to information in online media; cultural industry, capitalism, and ideology will still influence it. All established cultural and community artifacts are filled with meanings, values, biases, and messages that shape power relations and subordination. There is no pure content without representation which is often detrimental to the class, gender, race, sexuality, and other categories and social groupings. Cultural texts are filled with social meanings, they produce political effects, reproduce or oppose the arrangement of social institutions and relations of domination and subordination. It implies that every message or information uploaded on the internet is influenced and driven by a force.
Thus, in conducting an analysis of political economy in online media, it should pay attention to the issue of ownership of the production equipment and the content. The analysis of those issues will help to understand the problem of ownership and control as focus of this research.
Data collection was carried out through three main methods: in-depth interviews, observation, and document study. To obtain data on the problem of the ownership of the production, we used all the three data collection methods. The main data source was obtained through an interview with the editor of Tirto.id as the investor of Mojok.co. In addition, observations at the Tirto.id institution were also conducted. As secondary data, study of related documents was also needed. Meanwhile, for data of media content, we used document study as the main method. We collected the selected Mojok.co contents as the ob- Mojok.co first came to be known as a media that contained the opinions of the authors presented in a sarcastic style. "Sedikit Nakal, Banyak Akal" (A Little Naughty, A Lot of Sense) is the slogan used by Mojok.co. In accordance with its slogan, Mojok.co accepts articles written out of the box, instead of accepting articles written in a standard style of writing.
The writing style of Mojok.co is relaxed, humorous, and similar to a coffee shop chat. It is not common for the media to use satirical language styles contrasting the mainstream perspectives.
Tirto.id is a news, article, opinion, and infographic website in Indonesia. This site first Tanoesoedibjo as the supporters of treason. This paper finally involved the Press Council because the names mentioned reported Tirto.id to the authorities. The Press Council finally stated that this press dispute was not brought to justice. The Intercept fully supports Tirto.id to undertake journalistic work that is free from intimidation or retaliation.
A brief description of the two media shows that both media have high commitment to their idealism. Putut EA (editor in chief Mojok.co) and Zen RS (editor in chief Tirto.id) were known as literacy activists. The relationship between Mojok.co and Tirto.id cannot be separated from the friendship relations between persons working for the two media. Thus the integration of the two media related to the history of the friendship relations in the past.
Puthut EA was a prominent writer at the growth of alternative publishing in Yogyakarta.
Establishing a community called the Kelompok Belajar EA (KBEA/EA Study Group) then transmitted his writing skills. This community is a space for young writers in Yogyakarta and other cities to learn writing articles. There were some student press activists became the participants at KBEA. Ekspresi, a student press published by students of Yogyakarta State Nyimak Journal of Communication, Vol. 4, No. 2, September 2020 University (UNY), became the contributors to the training participants at KBEA, and Zen RS was one of them. KBEA Alumni spread in various media, especially digital media, such as Tirto.id, Kumparan and of course Mojok.co. From this student press and writer's circle, there was connection between Zen RS and Puthut EA.

Online Business Strategic: The Controller
Both Putut EA and Zen RS stated that there is no intervention from Tirto.id on the editorial policy of Mojok.co. But as literacy activist in digital platform, they cannot ignore the performance of the digital media business. There are two digital media business strategies implemented by Mojok.co: creative content and community engagement. Zen RS emphasized, in managing digital media, the creative content production and engagement are very important.
Content creation is a type of business that gives priority on content, or content as its main strength. This type of business seeks to build connections with viewers through stories they like. Creative content is a medium for connecting business entities and viewers.

Content Creation is the product made by Content Creator in the form of audio, visual, and texts via the internet. Content Creation has the potential to become viral because it is considered unique, inspiring the viewer so that the viewers will like it. The qualified content will
increase the SEO (Search Engine Optimatization), the technical process to increase the quality of traffic and attract the web visitor maximally. Creative content can be indexed quickly and get higher rankings than low value content in SEO.
The creative content is the spearhead of Mojok.co. The fun, humorous and coffee shop chat writing style, with the use of satirical language, contrasting the mainstream media writing styles is the implementation of the creative content strategy. Mojok.co conducts a fairly strict curation process. The editorial team receives the manuscript from the contributors. Furthermore, the editorial secretary will select the qualified articles, and then the editor will edit them. Editing is done to match the articles with the character of Mojok.co. In one day there are about 6 to 7 articles published. The articles are also free from SARA (Suku Agama Ras dan Antar Golongan/Ethnicity, Religion, Race, and Inter Group) based contents.
It must state clear, strong and reasonable arguments, not just agree or disagree.
Community engagement is a business strategy utilizing the solid community it has. According to Lommerse (Tiwaree, Lommerse, & Smith, 2014) community involvement is the process of working with the community to overcome a better life, crossing the boundaries of scientific disciplines and utilizing knowledge. Community involvement has a very important role in online business, because community involvement can increase brand awareness. A community can be a marketing channel that has higher involvement value than other marketing channels. Communities that are able to be managed well make a brand can become viral to other communities.
Community involvement is able to be a source of information about trends that occur and develop. In addition, community involvement can also be a source of feedback for pro-Nyimak Journal of Communication, Vol. 4, No. 2, September 2020 ducers. In addition, community involvement is also used to attract sponsors through community activities conducted online and offline.
The pride strategy of Mojok.co is its commitment to establish closeness with the com- Mojok.co is not only functions as media, which deliver the content, but also share information, and the most important is to establish certain relationships with viewers. It is the engagement, the way to bond the media to its viewers.
As a common digital media business strategy, Putut EA has been living up to it while managing Mojok.co. So, this strategy ideologically controls him in conducting the production process of Mojok.co. It performs when he manages Mojok.co after the investment. As a consequence of the Tirto.id's investment, Mojok.co needs to show its performance assessed from the web ranking, in this case Alexa was chosen as a web performance rating agency.
Creative content and community engagement are still the preeminence strategies to improve the performance. Mojok.co to align itself with the major media, which had already been ranked in the top 100 of Alexa.
The achievement of Mojok.co is the success story in managing online business strategies that are actively carried out after the acquisition process. The integration of the two media is not done in order to loosen competition as is commonly done by the big media that form a media conglomeration (Burton, 2017). Integration is merely done to revive media, which are considered as alternatives because they are different from mainstream media.
For this reason, Mojok.co needs to show its performance among mainstream media that are equally competing in the Alexa ranking.

Managing Engagement, Commodifying Viewer
In managing online media, engagement becomes very important. Engagement is a measure of online media performance. Engagement is the amount of interaction that takes place with content in the media. Jason Falls in Social Media Explorer explained that engagement is communicating well enough that the audience pays attention. Engagement is a communication activity that raises the attention or response of the audience (Fall, 2020).
Engagement can be simply interpreted as two-way communication. Wilbur Schramm refers to two-way communication as interactive communication, or interactional, that is, communication that takes place in a circular manner, where the communicator sends a message to the communicant, then the communicant responds, then responds again, and so on (Schramm, 1954). The key in interactive, interactive, or circular communication is feedback or response to the message, because it allows the sender of the message to know the response to the message, whether the message sent can be understood or not. This feedback is underlined by Falls, that in communication, the attention of the public is an indicator of the success of ongoing communication activities. In activities on social media, for example, engagement is measured based on existing interaction features. These features are: conversation between users, for example through comments and replies; amplification or the activity of spreading or expanding messages, such as share, send to and retweet; and applause or short response activities with certain icons, such as likes.
In online media, feedback as an engagement indicator is not always a conversation.
Attention can be expressed through amplification or applause. Even a click can mean attention. Falls asserts communication engages those who see the information and pause to click or print (Fall, 2020). This has caused engagement to occur even if a passive user only sees, reads, studies, and fills their minds with information conveyed by the media, even if Nyimak Journal of Communication, Vol. 4, No. 2, September 2020 only for an instant and then they leave the web in participatory culture. Henry Jenkins stated that the participatory culture has shifted the literacy's point of view, from individual expression to community involvement. To show the focus on community involvement, Jenkins then classified the participatory culture into four forms: affiliations, expressions, collaborative problem solving, and circulations (Jenkins, 2006). Falls concluded, "to engage an audience is to hold their attention" (Fall, 2020). This is the key in engagement or performance indicators of an online media. As a result, online media producers will pursue this indicator. Indicator is created by agencies doing web performance ranking, or web ranking, for example Alexa or Comscore. The ranking is measured based on the page view or the visit of users to a particular website. Page view is the lowest level of engagement. Many page views describe the traffic (web visitors) that occurs in the media/web. This traffic then becomes the significance for the media/web. The media will focus their attention to get substantial traffic.
Mojok.co also follows quite the same logic with the objective to increase Alexa ranking.
Engagement is something that must be achieved. To get a high rating, Mojok.co must have a fairly high engagement rate by undertaking the two strategies/business models: creative content and community engagement. The success of Mojok.co through the top 100 Alexa ranking is the proof of Mojok.co's success in managing engagement.
The business model that emphasizes engagement as an objective is generated from the concept of commodification of the audience and is based on the idea of viewing users as a source of tradable assets. The audience's attention and actions are assets. Attention and action is engagement. This is a performance that Mojok.co shows to investors and sponsors; as well as the viewer, which ultimately affects the engagement itself. It is the commodification of the audience, or in this case the commodification of viewers.
The concept of commodification of the audience comes from the political economy of communication. According to Smythe, media content will be the lure of recruiting potential audiences and to maintain their attention (Smythe, 1977). He introduced the idea of commodity audiences to analyze media advertising models, where audiences were sold as commodities to advertisers (Smythe, 1977). The main function of the media is to produce audiences who are ready to become obedient consumers (Arvinson & Bonini, T, 2015).
Smythe applies Marx's ideas about media as a communication tool. According to Smythe, what advertisers buy is the attention of the public. This audience is a commodity. Producers and buyers (advertisers) handled audiences are in the market as a commodity. In essence, the media industry is based on an audience that is a commodity that can be sold to advertisers Viewers are audiences, even though the actual concept of the audience is not entirely right to describe the characteristics of the viewer. Audiences are targeted by passive consumption, while viewers are not. For this reason, this concept was later extended to the study of contemporary business models, for example in the case of Google. Google treats users as a commodity for advertising. Kang and McAllister argue that Google generates profits from advertising by accommodating its wide and transformative users, and through its unique features as a place for advertising (Kang & McAllister, 2011). This practice is even more intensive in accommodating users than traditional media. Google's success in maximizing profits has driven innovation in business development (Osterwalder & Pigneur, 2010).
Commodification can be used as a tool to produce value. They argue that new technology increases the power of media and business giants to accommodate the audience and sell it to advertisers. However, given that contemporary business model audiences have more active characteristics, where they can simultaneously act as producers and consumers, Manzerolle proposes the expression "commodification of prosumer" to explain user participation in this process as well (Manzerolle, 2010). Hearn has a critical perspective and debate about self-commodification under various digital work practices. In any case, using new technology, users take actions that make them more easily commodified by business (Hearn, 2008). That is, prosumer who is seen as a more empowered audience (active not only consumes but also produces). For example Jennes who rejects the negative impression of the commodification of the audience by introducing the concept of "audience empowerment" and argues that digital technology can also enable users to control their environment (Khajeheian, Audience Commodification: A Source of Innovation in Business Models, 2016). However, it turns out that what happens is that the audience actually has more potential to be used by the media. Mojok readers can promote himself by writing in User Generated Content platform, namely Terminal Mojok. Previous research by Arif Saha Widodo show phenomenon in using internet for freelance (Widodo, 2019).
Mojok.co utilizes viewers, who act as prosumer, not only their consumption role, but also their producer role. To invite viewers to visit the Mojok.co website, the Mojok.co team created accounts on social media: @mojokdotco on Instagram and Twitter, and @mojok on Facebook. Based on interviews conducted by Puthut EA and Zen RS, it is currently very difficult to expect viewers to directly visit the web or application. The viewers actually visit the page by sharing posts by the user through social media. For this reason, Mojok.co prioritizes on visits to the web through the share of their followers or friends on social media. Nyimak Journal of Communication, Vol. 4, No. 2, September 2020 It is the important role of creative content. Creative content will encourage the writing/ article in like, comment, and even share. Through creative content, Mojok.co controls its viewers to increase engagement so that it will raise Alexa's ranking as Tirto.id's "demands" as investors and sponsors. We deliberately used the term "demands" (with quotation marks) because neither Tirto.id nor Mojok.co mentioned verbally that there were certain demands after investment. But we see that in the logic of online media business, that is something that cannot be avoided.
Besides, the viewers are also being used by Mojok.co to become a content creator.
Mojok.co invites viewers to become freelance writers at Mojok.co. Indeed the publication of writings from freelance writers goes through a rigorous process of curation. However, utilizing the viewers to be content creators in this case is also commodification. This is means of gaining engagement, which is obtained through the commodification of the viewer.

Questioning Alternative Media: Between Business and Idealism
Mojok.co's business model that utilizes creative content and community engagement for Alexa ranking will improve Mojok.co's performance whereas it becomes important for Tirto.id as the investor. Thus the Mojok.co and Tirto.id collaboration are business agreement.
Nevertheless, Mojok.co and Tirto.id in some respects continued to show their consistency over their idealism and goals to make the media they manage remain different from the mainstream media, especially those with big capital. There are some operational works carried out both by Tirto.id and Mojok.co, which are different from the mainstream media. It keeps both Tirto.id and Mojok.co could run their idealism.
As explained in the previous section, engagement is the power of online media. The aim is to catch up on traffic, so that it can improve its web ranking. In web analytics, traffic sources are a kind of report that provides an overview of the various types of sources that send traffic to certain websites. At least there are several sources of traffic that are commonly known: 1. Direct Traffic. It refers to the visits from people who type directly the website address in the browser because they already know the domain name; 2. Referral Traffic, i.e. visits from visitors who clicked on a link from another website; 3. Social Media. It is the same as referral traffic, originating from social media, such as Facebook, Twitter, Instagram, etc.;Nyimak Journal of Communication, Vol. 4, No. 2, September 2020 CONCLUSION Friendship and business relations motivate Tirto.id's control over Mojok.co. Digital media, which was originally built as a realization of the passion of its managers, gradually experienced monetization. The relationships built to maintain and manage the passion, in the end cannot avoid the business strategies. How Tirto.id controls over Mojok.co's production and distribution process based on that rationality. Creative content and community engagement as Mojok.co's business strategy is designed based on Mojok.co's idealism.
Both strategies guide Mojok.co to manage engagement. One proof of the success of engagement management is the achievement of Mojok.co ranking in the top 100 Alexa. For this purpose, Mojok.co carried out the commodification of the viewer.
The business strategy implemented by Tirto.id and Mojok.co, which result in integration of the two is not in the context of conglomeration to loosen competition in the media business. The integration was precisely carried out in order to preserve and maintain the idealism of the Tirto.id and Mojok.co crew. By understanding this commitment, both media try not to play in the same path as the mainstream media. Mojok.co even challenged the mainstream capital media with large capital. The achievement of Alexa shows the success of Mojok.co in building its existence as a reputable media even though it is not built with large capital. Reflecting on the Mojok.co case, defining alternative media becomes more complicated. If the definition of alternative media is not fixed, then alternative media redefinition is needed to explain media such as Mojok.co. Alternative media is innovative media. Its innovation makes it different from the mainstream media. Alternative media has passion to challenge mainstream media by managing alternative strategies, in this case by the loyalty to build engagement organically. As a result, even though Mojok.co has been institutionalized and capitalized, it does not necessarily make it lose its alternative.