Red Siren

    O poder da cor de comunicar sensações, de transmitir e atinjir diferentes comprimentos de energia e até de som é algo muito peculiar, acho que é um dos elementos que mais consegue congregar os sentidos num verdadeiro festim de sinestesia.
    O azul como som é susurrado e o amarelo é ácido e agudo...
    O vermelho, "cor sobre a qual há tratados", é forte, emocional e soa a um rufar intenso de tambores...é a cor preta com pimenta...existe sem pedir licença!

    A instalação Redress integrada no London Design Festival leva esta ideia ao limite. É muito mais do que um vestido, é um espaço de reflexão e de interacção entre música e arte, um palco que convida a assistência a fazer parte do seu halo vermelho.

    The power of color to communicate feelings, to transmit feelings, different lengths of energy and even sound is something very peculiar and interesting, I think color is a true feast of synesthesia.
    The red is strong, emotional and sounds  like an intense drumming ... is a mix of black with spices... exist without asking permission!

    Redress integrated installation at the London Design Festival takes this idea to the limit. It is much more than a dress, is a space for reflection and interaction between music and art that invites the assistance to be part of the red "halo".

    source:  Svetlana Kuznetsova by Frauke Fischer for Fashion Gone Rogue |


    James freakin' Loney: What the hell am I doing
    in this post??
    Gone in 60 seconds for a wild, won-ton weekend, but time enough at last for a quick start-up of a multi-part dissertation on a more structured/nuanced/artfully-balanced-on-the-end-of-a-pin MVP process.

    As always, it's not just the destination but the journey, and this one will begin with a look at the hitting leaders over the last two months of 2011 season from each league (data courtesy of the always useful David Pinto Day-By-Day Database).

    Almost all of the players selected are at least on the fringes of the current MVP discussion, though some will produce head-scratching. Those folks (Dan Uggla, to name one) are there mostly to show the league-leading totals in a stat (in his case, HRs over the last two months).

    We'll get into the "Ptolemaic method" and how it probably won't change anyone's preconceived notions of the MVP selection process next week, but for now, peruse the data. We've sorted the hitters by OPS, and have highlighted achievement levels for OBP (just under .400 and higher) and SLG (.600 and higher).

    Here's the NL:

    And here's the AL:

    More soon. (Threat? Promise? My candy mint is your breath mint...)


    After a baseball evening as unique and unprecedented as the one that millions watched on September 28, 2011, it's tempting to overanalyze, overwrite, overdo the infinitesimal probabilities involved in the just-as-ordered-up-by-the-media congruence of defining events that followed each other with the unexpected, unexplainable drama of real life. (Did I say it's tempting to overwrite??)

    What we should take away from such a night is the realization that a whole series of events led up to it, and the purpose of this essay is to summarize and contextualize the month of September 2011, which had a parallel story line in both leagues (a fact that often gets overlooked in the Eastern Cabal's ongoing effort to outshout not only each other but the rest of the country as well).

    Let's line up the standings in each league for the principal teams as they stood on September 1.

    We've added "Expected Wins" (EW) and "Difference" (D) to the basic data to show a few key points that might be useful for carrying through the narrative. By looking at those, we can see two things: the Yankees were playing a bit under their expected won-loss record, while the Braves (that other team originally from Boston who took a tumble in September) were playing five games over theirs.

    Both of these facts ended up being "corrected" somewhat during the final month. (Note, of course, that other teams, in both leagues, were outpacing their expected win totals at the end of August--this tool, as with all of the ones in the analyst's arsenal, is imperfect and incomplete. Detroit, Milwaukee, Arizona managed to remain "above the line.")

    Note also that the expected won-loss data at the end of August suggests that the Red Sox were legitimately a .600 team. What happened to them in September (as shown in the full standings for the last month--both AL and NL are shown below) shouldn't happen even to one's worst enemy:

    That's right. The Red Sox were five games unlucky in the final month. All they needed was one of those five games to go in their favor and they would have bounced back up to the river's surface instead of sinking to the stream bed like a baseball version of Shelley Winters in The Night of the Hunter.

    After all that screaming about love and hate, it gets very quiet
    when you're dead...
    They were 2-7 in one-run games during September.

    But let's also note something else. Tampa Bay was not the best team in baseball in September. They had only the third best record in the AL during that month.

    They played very well, to be sure. But both the Tigers and Rangers were better. The Rangers, known for their sluggers, had an astonishing performance from their pitchers in September, a month when AL scoring actually went up. Nobody seems to have noticed this.

    Let's finish with the September records of the NL teams:

    Here we see that the Cardinals were the best team in September (though not in expected wins--they appear to have gotten some good breaks), and the Braves were in fact the worst (managing to get under the Astros, no mean feat when you are talking about a team with less than 60 wins over the whole season). But the Braves weren't as unlucky as the Red Sox: they simply stopped hitting.

    They scored seven runs in their final five games, and lost them all.

    I have no recollection of any other such amazing parallelism in "final month fortune reversal" as we've just seen over the past twenty-eight days. It's happened in one league or the other, every so often.

    But when has it ever happened in both leagues, in parallel, both coming down to one-run losses on the final day of the regular season?


    Este editorial serve como pretexto para uma pequena reflexão...como sabem neste blog embora divague pontualmente sobre outros assuntos o universo da moda, da fotografia, da arte ou do design, no fundo da criatividade são o que lhe dá vida, e do que é feito.
    A questão que me assolou tem a ver com o tema da Bienal Experimenta Design deste ano, sob o mote USELESS. Reflecte-se sobre a sociedade actual, sobre a efemeridade e obsolescência eminente. 
    Questão que abarca tanto os objectos, como a própria sociedade...esta é uma temática mais complexa do que à partida pode parecer, se pensarmos no mundo do design, da moda ou dos objectos, será que podemos dizer que são úteis? mas afinal o que é a utilidade?...a utilidade não se finda na resposta eficaz a um problema, à funcionalidade perfeita, pois desse ponto de vista seriamos nós próprios máquinas, desprovidos de sonho e de imaginação, porque são tão úteis os objectos que dão resposta a acções mecânicas  como os que nos alimentam a alma ( senão até mais)...por isso continuo a tentar fomentar a vossa imaginação e alimentar a vossa alma...

    This editorial serves as a pretext for a small this blog the main subjects are fashion, photography, art and design. The question that struck my mind as to do with the Biennal of design, architecture and criativity EXPERIMENTA DESIGN in Lisbon which theme this year is USELESS. Reflects about the habits of the contemporary society, about the obsolescence of the objects and of the values of society.
    This issue is more complex than it may seems, if we think about the world of design or fashion, can we say that is useful? but what is utility? ... objects are so useful if they respond to mechanical actions such as those who nourish our soul ... so I keep trying to stimulate your imagination and feed your soul ...


    Numéro October 2011 Editorial - Karmen Pedaru photographed by Greg Kadel

i-d : (BIG) dream BIG

    A recriação de uma boneca em tamanho natural através de acessórios e pestanas desmesuradamente grandes. A realidade maximizada como metáfora e desencadeadora mental do universo surreal.

    Grandes Sonhos:Sonha em Grande

    The recreation of a life size doll through oversized acessories and eyelashes. The maximized reality as a metaphor and mental catalyst of a surreal universe.

    Dream BIG Dreams

    Photos: Abbey Lee Kershaw shot by Richard Bush & styled by Sarah Richardsonfor i-D


    How does a mousy young woman become an international
    femme fatale? Easy--just put her behind bars...
    Whilst the fur flies over Moneyball (fear not, we will weigh in soon...) and the parallel collapse of the two franchises originally based in Boston, there are really important matters that are being relegated to the slag heap because they just aren't as outrageous as, say, the ongoing trial of Amanda "Foxy" Knox (a debacle as protracted as the month of September for the Red Sox and Braves, who are 16-36 since August 31st).

    No, what's languishing in the bulrushes is the rise of two hitters with hitting talents that remain opposite to what is favored in the version of the game that took hold in the 1990s and retains its allure despite its imminent decline.

    These two hitters are far from the best in the game, but the shape of their statistics (low homer and walk totals, only middling on-base percentage despite a .300+ batting average) tends to keep the recognition of their overall usefulness--well, it keeps it pretty well locked up, that's what it does.

    Who are these guys? And what millstone--I mean, milestone--have they both achieved that has us fan-dancing with our flugelhorn (an image that, try as I might, can't quite be captured even with the advent of Internet image innumerability--so you'll just have to settle for the cheap shot of a shapely sight gag)?

    They are Melky Cabrera and Starlin Castro, and they are the latest members of the 200-hit club.

    Starlin is only 21, so the judgmental jury (taking after the Italian "school of justice," apparently...) is still out. There is some chance that he'll develop some additional offensive skills beyond a .300 BA, middling power, and a low walk percentage (6%). His 200+ hit debut in '11 makes him only the eleventh player to crack the 200-hit milestone at age 21 or younger, which bodes well for his chances of having another 200-hit season during his career, but leaves the jury sequestered with respect to his ultimate career path (five of these eleven players on the list have been elected to the Hall of Fame or are a mortal lock for it: Ty Cobb, Al Kaline, Alex Rodriguez, Joe DiMaggio, Lloyd Waner).

    Melky, however, is a player who has been suspect ever since he first came up to the majors. It probably didn't help that the team was the Yankees, who despite their success with a series of preternaturally long-lived homegrown players who've helped fuel their protracted dominance (Derek Jeter, Andy Pettitte, Jorge Posada, Mariano Rivera, Bernie Williams) are a team that likes to spread the large-size bills around--if only to remind you that there's more than one way to influence a jury. Melky clearly didn't have the physical appearance of a pinstriped pasha...frankly, he looked more like any one of those guys you could see driving dump trucks on the Cross-Bronx Expressway.

    Melky Cabrera: just barely passing muster to appear on
    folding money in the Yankees' scheme of things
    As was inevitable, Melky got peddled in what was supposed to be another instance of highway robbery (sent to the Braves for Javier Vazquez), had a bad year, and suddenly found himself playing in Kansas City. Melky was turning 26, and "the whole truth and nothing but" was that he was a piece of meat that had laid out in the sun too long. Spilt, spent, spoiled, and no longer even good enough to be a suspect, Melky's presence on the Royals was seen as the work of a cruel and unusually sadistic god (Old Testament division).

    So, naturally enough, we are just about to drop the lethal gas on the 2011 regular season and here's Melky with 201 hits, 67 of them for extra-bases. As with Starlin, he can't walk his way out of a paper bag (as of this writing, they both have 35 bases on balls for the season), but he's sporting a 122 OPS+ and even a basic evidentiary hearing will confirm that he's had a helluva better season than Carl Crawford (who, BTW, has never had 200 hits in a season).

    Nobody really expects Melky to do it again, but stranger things have happened. Sam Rice started late, flitted around, had his first 200-hit season at age 30, waited four years, did it again, then did it four more times, the last time at the age of 40. Sam's the oldest player to have 200+ hits in a season. It's probably  the main reason he's in the Hall of Fame. (And players who have 200+ hits at an advanced age, in this case 35 years old and up, do show a marked propensity for a plaque in Cooperstown. The second oldest guy to have 200+ hits in a season is Hall of Famer Paul Molitor. All in all, the percentage of old 200-hit guys (age 35 and up) in the Hall is 55%.

    The big problem for 200-hit guys is that they don't walk enough to make happy those of you who wear "the sabermetric 0-for-4" (sorry, no longer available at Cafe Press, and too obscure a reference to pass the puerility test at Snorg Tees). The same dynamic that applied to high-hit players in the past is still prevalent today--they tend to swing for contact more and walk less frequently than league average. A decade-by-decade breakout of the hitting patterns (shown above) of 200-hit players reveals the slow-but-consistent decay of these hitters over time: relative to the league, which continues to feature isolated power, these guys are giving ground. The quality decline was sharp in the 1920s, but the aggregate OPS+ stayed consistent for the better part of eight decades until it took a nosedive in 2000-09.

    The history of 200-hit seasons has a lot of interesting detail in it, but it seems useful to at least measure the quality extremes that exist within such seasons. These are probably best manifested by the extremes in walks drawn. Every other combination, including aging, doesn't result in significant differences in overall quality.

    In order to examine this, we captured the data for those 200-hit players who walked 100 or more times in a season, and compared it to the data for 200-hit players who walk 25 times or less. There are 26 players who are 200-100s, while there are only 23 players who are 200-25s. Here they are, and here are their performance averages:

    The 200-100 players have, simply put, some of the greatest seasons ever turned in over the course of baseball history. Lou Gehrig is on this list seven times. Wade Boggs pulled off this feat in four consecutive years. It's a list dominated by left-handed hitters (eight of the players here, who total 26 such seasons, are southpaws, and a ninth--Bernie Williams--is a switch-hitter, as opposed only four righties.)

    Compared to the 200-100 folks, the 200-25 list loses more than 50 points of OPS+, more than 250 points of OPS, and 100 points of OBP. Some of the names on this list are so obscure that there is a 50% likelihood that they've been forgotten by their own families.

    Melky and Starlin are closer to this category of 200-hit player, which means there's little likelihood of a Cooperstown plaque in either of their futures. The 200-hit players who are in the Hall hit .355 and had a .958 OPS during their 200-hit seasons. The 200-hit folks who aren't in the Hall hit .333, and their OPS is 80 points lower. That's why only 33% of the 200-25 guys are in Cooperstown, as opposed to 70% for the 200-100 guys.

    One final chart, and it's a doozy. This one provides you with the complete anatomization of 200-hit seasons from 1887 until the present day, and it's sorted/clustered by age. (We are using our favored definition of age ranges from the old BBBA days, slightly different than that used at Forman et fils. Age Range 1 (orange) is age 25 and younger; Age Range 2 (sky blue) is 26-29; Age Range 3 (light green)is 30-34, Age Range 4 (yellow) is 35 and older.) The Age data shows that 26-year-olds are likeliest to join the 200-hit club. As noted earlier, Melky was 26 in 2011.

    The most number of 200-hit seasons in any given year can be found in the right-most column--take a guess? Yes, if you took a flyer on 1930, you'd be right: 20 hitters had 200+ hits that year. But they had 19 the year before. What leaps out from this chart is how the lively ball just made this total jump through the roof--it's a startling contrast from the deadball era. The 1910s (16 total 200-hit seasons) and the 1920s (102 200-hit seasons) are plainly and simply alternate universes.

    The slackoff began in the late 30s and it really wasn't until expansion, with its eight extra games, when baseball got back into 200+ hit seasons.

    Before you get to the bottom, make a guess as to how many times someone has amassed 200 hits in a season. (No peeking!)

    And notice that the vast majority of all elderly players (Age Range 4, 35 and up) with 200+ hits occur in the 1920s. The sharp rise in offense allowed some veterans to ride the wave of the new offensive environment. That seems to have been an unrepeatable event.)

    But also notice the odd stepwise progression beginning in 2000 and continuing virtually uninterrupted until today of multiple 200-hit seasons moving in tandem over the age ranges. They moved over into Age Range 4 in 2009, but it's looking like this odd little phenomenon has finally come to close.

    Who are the big guys right now in this area? Well, Juan Pierre, of course--the man who had only a 82 OPS+ back in 2006 when he collected 200 hits (one of four times that he's done it). The two leaders in this category, however, are Ichiro! (10 straight times, though not this year...) and Michael Young, who's done it six times, including 2011.

    You can't tell from this chart, but the team with the most number of player-seasons with 200+ hits over the course of baseball history? It's a tie: 41 such seasons, held by the Tigers and the Cardinals. The Yankees are third with 36, with the Phillies and Pirates tying for fourth place with 31.

Earrings and Inspiration

    Os novos brincos que criei...mais uma vez a inspiração repete-se, a natureza indefinida; conjugação harmónica, simétrica e assimétrica, de cor, forma e sentidos

    The new earrings I created ... once again the inspiration in nature, the indefinite combination, harmonic, symmetric and asymmetric, color, shape and senses

    source: Filipa Sousa photos |



High Speed...A Alta Velocidade

    Tenho que vos confessar que apesar de gostar muito de contemplar sapatos com tacões altíssimos, muitas vezes verdadeiras obras de arte e de equilíbrio, no meu dia-a-dia gosto de manter os meus pés mais próximos do chão, talvez porque assim contrabalanço os meus pés com as minhas ideias, (pois essas sim voam) suspeito que a senhora Miuccia Prada tenha o mesmo problema, pois na sua nova Colecção para a próxima Primavera/Verão 2012 embora tenha criado sapatos com tacões bem altos, dotou os sapatos de chamas, como se fossem asas e aplicou-lhes "luzes traseiras" semelhantes ás do clássico Cadillac Coupe de Ville dos anos 50, ícone da cultura americana...talvez na esperança de que mesmo que use stilettos consiga movimentar-se à velocidade da sua imaginação.

    I must confess that even though I love high heels, in my daily life I prefer low heels, that allow me to move and to think in a higher speed ( yes, my ideas really fly )...I think that Miuccia Prada has the same problem ;) because in the Prada S/S  collection 2012, she designed high heels with flames/wings like rear lights similar to the ones in the classic Cadillac Coupe de Ville of the 50's...perhaps in the hope that even if we use stilletos she could move at the speed of imagination.

    All the collection has recreated the 50's style, with boxier shoulders, automobile prints, flame motifs, spring jackets, big earrings and sunglasses like the ones that Marilyn Monroe used in the cinema

    source: fashiongonerogue - Prada S/S 2012 | | markafoniblog

    Já estamos habituados a que por norma Miuccia Prada assuma uma direcção muito própria nas suas criações, que desafie e renove constantemente a definição instituida do que é bonito, lisonjeador para o corpo da mulher ou feminino...e embora não haja uma transposição literal do visual que encena em cada colecção para as ruas, é ela que dita a direcção, o mote a seguir...é por definição uma influenciadora, que desta vez parece ter apresentado uma colecção muito pessoal inspirada no seu guarda-roupa pessoal, apesar de mais extrovertida.

    Para os que não a conhecem desafio-vos a fazer um exercício de imaginação, como é que imaginam a pessoa por detrás de um império como a Prada, que a cada nova colecção consegue exercitar a sua imaginação sempre por caminhos novos, ora mais obscuros ou mais fantasiosos?

    Para alguns esta falta de pretensão pode parecer estranha ou encenada, mas a verdade é que eu acredito que uma pessoa que construiu um império como a Prada conseguiu-o através do trabalho e principalmente mantendo-se autêntica, verdadeira e humilde, com a criatividade nas nuvens, mas com os pés no chão

Print Ambitions

    A moda é um laboratório de transformação onde se pode criar e transportar connosco,
    (e próximo de nós) os resultados dessa experiência, sempre como hipóteses não testadas ;) talvez por isso seja tão mutável, mas ao mesmo tempo tão constante, porque simplesmente tem que se relacionar com o nosso corpo, estrutura constante de "engrenagens" perfeitas independentemente do tamanho ou da forma.

    Em cada uma das imagens deste editorial os padrões e as texturas influenciam e transparecem uma identidade própria.
    Metáfora das estações da nossa personalidade?

    Fashion is a lab of transformations where we can create and carry with us, (and near us) the results of the experiments, perhaps because of this, it is so changeable, but at the same time so constant, because it simply has to relate to our body, perfect structure regardless of the size or the shape.

    In each of the images of this editorial prints and textures shows an individual and different identity.
    Metaphor of the seasons of our personality?

    Lisa Akesson by Dimitris Skoulos for Elle Greece October 2011

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