Lataa ilmaiseksi

he talked solely about making videos, the kind of events that he has caught on
tape and about post-processing the filmed events.
J: I have one hobby, I like to shoot video, with a digital camera and then
I have an editing program on the computer and I edit them. Amongst
other things [a family event] was shot in video, shot with two cameras
and downloaded onto the computer and edited, and music was added
and everything. That’s the sort of project we did, for example. I shot
that. (pause)
HP: you of course have got a video camera and
J: yes yes
HP: have you then somehow invested in it, do you have lots of that kind of
gear?
J: no (pause) in fact, that’s also a wedding gift (laughs) My mother and
father. At that time it was, and I hear that it still is, one of the best of
those better digital cameras. Sony.
HP: do you follow the field then
J: no except that I shoot a lot. Always when I’m on the road, I have it
with me nearly always. We have all the wedding videos and systems
on the shelf. ( Jari 07 232-249)
5 U S I N G D E S I G N
211
The camera is important, of course, but it is not important that it is that particular
camera – any other equally good camera would have done just fine, which
means that it is not that design of the camera is not important – quite the
contrary – but that Jari was not emotionally attached to that particular design.
The product does not “recreate”, but the activity (videoing) does.
But design can be and is a commonly used source of recreation. In layman
terms, people can become happy by having design around. In my sample, the
households of Theo (looking for stylistically fitting products), Anniina (who
designed the whole apartment), Kalle & Emma (displaying and storing huge
amounts of products because of their “feeling value”), Laura (throwing away
the decorated egg), Olavi (making careful selections), Janne (looking for inspiration),
Asta (tuning the products), Tiina (re-making the same design for the
third time), Rea (displaying her collections), Hannele (displaying still lifes) and
Sakari & Elisa (taking care of the apartment’s “energy levels”) are all, by doing
these things (and several others actions), running their galleries. Sakari’s offhand
thinking out loud about the energy levels in his home is a rare example of
an interviewee pondering the logic of underpinning design decisions and also
about how the home, the gallery, must be guarded from unwanted items: