text:
Biography of Maurice Allais
Thematic bibliography
A passion for research
General economic equilibrium, Social…
The theory of capital
Theory of Risk
Money and Interest
The Indexation of debt
The physicist
The physicist: Historical
Presentations and analyses of Maurice…
Maurice Allais's experimental research…
The re-examination of Miller's…
Regularities in satellite systems
Continuation given to Maurice Allais's…
General economic equilibrium, Social efficiency and the Economy of markets
By Bertrand Munier
For Maurice Allais the three greatest economists were Vilfredo Pareto, Irving Fisher and Léon Walras (in that order). So it will come as no surprise that, in his efforts to rebuild economic analysis on new foundations, between 1941 and 1947, Allais should have concentrated on the general equilibrium introduced by Walras and revised by his successor at Lausanne Vilfredo Pareto. What is less well known is that, in the light of experience, Maurice Allais went on to qualify and modify this remarkable initial contribution by offering a second conception of economic analysis in the form of a general theory of surpluses and of the economy of markets (note the plural)..
I. The reconstruction of economic analysis (1943-1947)
Three works were to punctuate this fundamental formative period in the thought of Maurice Allais:
The monumental Traité d'Economie Pure [Treatise on pure economics], published[1] in 1943 by the Ateliers Industria under the title À la Recherche d'une discipline économique [In search of an economic discipline], and later (1952) as Treatise on pure economics by the Imprimerie Nationale (with the addition of a long 63-page General Introduction) – a difficult and technical work in which Maurice Allais describes the basic behaviour of consumption and production as well as the states of the economic system to which they lead. He then tackles the properties of these states in detail and demonstrates for the first time with rigour that:
an equilibrium state necessarily displays maximum social efficiency (i.e., in more everyday language, is Pareto-optimal) under certain fairly general assumptions, but for a given distribution of incomes (the theorem called direct in the New Welfare Economics);
that a Pareto-optimal state can be achieved, under more restrictive conditions, as equilibrium state, if the economy is managed in a decentralized way by a system of prices. This "second theorem of Welfare Economics" was to provide the basis of the economic and political programme of the Prague Spring, never in fact implemented for obvious reasons. The proof used by Maurice Allais to demonstrate it was entirely original in formulation and is worth comparison with Lyapunov's second method.
A work of more modest dimensions, which reprises the bulk of the findings just mentioned in a more condensed form – Economie Pure et rendement social [Pure economics and social efficiency], published in 1945. This work was to be complemented a few years later (1953) by an article published in Econometrica under the title "The extension of the theories of general equilibrium and of social efficiency to the case of risk", an article which makes use of the progress in risk theory discussed elsewhere in this site.
Finally a work of decisive importance, Economy and Interest, published in 1947 by the Imprimerie Nationale in two volumes (some 800 pages in all), which introduces a major idea in economic analysis, that of overlapping generations, an idea often, but wrongly, attributed to Samuelson (1958) in an article written eleven years later. This concept notes the apparently simple fact that in the same economy there coexist different generations, whose characteristics in terms of wealth, income, etc., are not the same today and will not be the same tomorrow. Maurice Allais reprises therein the main themes of the preceding work, while focussing attention on economic dynamics and the role played by the determination of the rate of interest in this social dynamic. Specifically he points out that the coexistence of different generations calls for regulation by the State – the limits of the market economy having been reached – to help determine a suitable level for the rate of interest. In particular he demonstrates that in a stationary economy the rate of interest must be zero. This was the first statement of what later came to be called the "golden rule", attributed – once again mistakenly – to Phelps (1960), according to which the "pure" rate of interest, if the optimum is to be ensured, must be equal to the economy's sustained rate of growth. Moreover, in a footnote to the same work, Allais formulates the model of money balances later christened the "transaction money" model, the paternity of which, by yet another error, is attributed to William Baumol (1952) [2].
The three works mentioned comprise a remarkable ensemble. Indeed they comprise the very ensemble which the Nobel Prize Committee made a point of saluting in 1988. At the prize-giving ceremony, Ingemar Stahl presented it in the following words: "In 1943, during the dark years of German occupation, a remarkable work in economic theory was published in France. The title was À la Recherche d'une Discipline Économique [In Search of an Economic Discipline] (…) Along with a new extensive study published in 1947 entitled Economy and Interest, his work from 1943 constituted a more complete, more rigorous and more generalized mathematical description of a market economy than anything published earlier by economic scientists or at about the same time, though independently, by previous laureates, the British economist Sir John Hicks and the American economist Paul Samuelson."
II. The general theory of surpluses and the economy of markets (1967–)
Right from his ground-breaking work of the preceding period, which I shall henceforth refer to as the Treatise on Pure Economics, Maurice Allais had introduced a notion of economic "surplus" or "loss", which generalized the earlier notions of "consumer surplus" (due to Marshall – in partial equilibrium – and to Hicks). These notions have an immediate relevance in terms of characterizing Pareto-optimal states. But their significance for the notion of economic equilibrium enabled Maurice Allais to contribute an original generalization of the modelling of economic behaviour which leads into the theories of markets and their microstructures, which were to be developed later.
The difficulties involved in calculating the marginal costs in various studies connected with transport (1947, 1964) were the starting point which led Maurice Allais to question the construction of the neoclassical economy of the Walrasian tradition. In the fable of the "Traveller from Calais", he enquires how much it costs to convey a traveller by train from Calais to Paris. The ticket-inspector replies: almost nothing, for the presence or absence of an unoccupied seat in a carriage makes practically no change to the costs incurred by the railway company. The conductor replies that it is a fraction of the overall costs of the seats available in a carriage, for if the number of travellers continues to increase after the carriage is full, a new carriage will be needed… Indeed the conductor goes further, for he notes that the number of carriages to be pulled by a locomotive cannot be increased indefinitely: so above a certain number of carriages, another locomotive will be called for. Hence in total each seat costs . But the network manager remains unsatisfied, for it is not possible for an indefinite number of trains to travel on the same track and above a number of trains, the track will have to be doubled. Hence in his view the seat costs … Always assuming, of course, that a single price applies to each carriage, each locomotive and indeed to each track…
As the fable illustrates, there are grounds for doubting the assumption of the general convexity of the total and marginal cost functions – an assumption without which the Walrasian economic equilibrium is not defined, at least in the short term. Doubts may also be entertained as to whether the price system is in fact unique at every point in time… This led to a paper read by Allais at Milan (1967), followed up by an article in the Revue d'Économie Politique (1971), and ultimately to the book on the General Theory of Surpluses (1981) which has since been republished.
Allais observes that the academic literature over-concentrates on equilibrium – its existence and its implications for the management of the economy – whereas these implications are subject to very restrictive assumptions, particularly that of the uniqueness of the price of each article and that of the convexity of the cost functions – at least above a certain activity level threshold. In reality, noted Allais, the analysis of the processes by which an economic equilibrium is – or is not – reached is of far greater interest. The economic dynamic is at first a series of disequilibria before a state of equilibrium is – perhaps – reached.
Use is then made of the notion of loss or of surplus: Maurice Allais holds that the pursuit, exploitation and distribution of realizable surpluses is the prime mover of economic activity. He further remarks that the definition of the distributable surplus does not depend on any condition of convexity or of uniqueness of prices. This enables the Walrasian vision of the market economy (market in the singular and subject to general convexity and a unique price system) to be replaced by "the model of an economy of markets [plural] in which all the transactions take place [between two agents] at specific prices," which are not necessarily identical from one transaction to the next or from one sub-set of agents to another. Yet Allais is able to demonstrate that:
(1) every Pareto-optimal state is a state of zero-loss, when no constraint is involved other than is "natural" (i.e. total demand for any good is at most equal to the availability of this good in the economy);
(2) any economic decision not liable to release a surplus is to be avoided;
(3) if further constraints are imposed in addition to those that are "natural" (a point of common ground between the theory of the second best and a good many sociological and even cognitive theories), the choice of the lowest loss starting from the situation one is then in must always be a justified criterion of action;
(4) economic processes are precisely comprised of sets of effective specific exchanges of the kind just outlined (Maurice Allais here distances himself from Walrasian trial-and-error and draws closer to "effective" Keynesian concepts as opposed to "notional" Walrasian ones);
(5) all these processes generally take place in a universe of multiple prices – albeit at the same time and place – for the same good or service;
(6) economic equilibrium is reached when no further surplus can be released among the realizable states of the economic system, and only then can the price system be considered unique;
(7) finally, any equilibrium so defined corresponds to a situation of maximum economic efficiency.
This last finding may be seen as a new demonstration of the first theorem of welfare economics, first demonstrated – though under conditions that are much too restrictive – by Pareto in 1914. But it may also be seen, if non-natural (and possible non-economic) constraints are imposed, as a new demonstration of Lancaster's (1956) second best theorem, for nothing in such a case implies that the realization of a condition supplementary to those of the Pareto optimum corresponds to the lowest realizable loss starting from the present state of the economy, i.e. draws the state of the economy nearer to a realizable optimum. It will be agreed that the economy of markets, in the plural, represents a considerable generalization of the neo-classical economic analysis.
Here too we find a goldmine for potential research: How, starting from an initial situation of ownership of goods and services, are the possible states of equilibrium to be characterized? How should we characterize the sequences of passing from one realizable state to another in order to attain – at the cost of successive disequilibria in general – a state of economic equilibrium and hence of maximum efficiency (of maximum social efficiency or of Pareto-optimality, or, more often of second-best optimum)? And so on. The basic ideas are here in place and the construction of an alternative intellectual edifice to the Walrasian theory has made remarkable progress thanks to Allais… But this version of the dynamic of a decentralized capitalist economy remains to be completed.
Thus Maurice Allais's contribution to economic analysis is both multifaceted and coherent, and contains the seeds of a potential renewal awaited by many. It is worth recalling the words of the Governor of the European Central Bank in the speech by which he opened the ECB's Central Banking Conference (Frankfurt, 18th November 2010): "When the Crisis came, the serious limitations of existing economic and financial models immediately became apparent. Macro Models failed to predict the crisis and seemed incapable of explaining what was happening to the economy in a convincing manner. As a policy-maker during the crisis, I found the available models of limited help. In fact, I would go further: in the face of the crisis, we felt abandoned by conventional tools. In the absence of any clear guidance from existing analytical frameworks, policy-makers had to place particular reliance on experience." These words are eloquent indeed.
Recent work in economics and finance concerning the microstructure of the markets no doubt constitute one of the research paths which continue Allais's efforts just mentioned, by taking, as it were, the same approach to the problem – that of the technology of individual market exchanges, in order to return, if possible, to the realizable states of the economy, etc. And this is undoubtedly one possible way of shedding light on the Allaisian vision of the current capitalist world. But there are others… so to your screens and keyboards, young researchers!
[1] The word ought to be put in quotation marks: a humble spirit duplicator was the main machine used for this "publication". These were days of war and hence of penury.
[2] The misattribution of the contributions mentioned have now been admitted, following the publication of the work of Boiteux, Montbrial and Munier (eds., 1986), by all of those previously credited with having originated them; they have shown great kindness in recognizing Allais's precedence.
The aim of the foundation
The Foundation Committee
Main Initiatives
The Maurice Allais Economics Prize
Aims of the Maurice Allais Prize
Maurice Allais Prize ceremony –…
Video – Maurice Allais Prize 2019
Ateliers Maurice Allais
The Maurice Allais Workshops 2016
Videos of 2016 Workshops
Vidéo des Ateliers 2014
The Maurice Allais Prize
The Maurice Allais Workshops
Copyright Maurice Allais Foundation 2020.
The English version of this website has been developed with the assistance of John Daly, translator.


text:
Dagalo praises the level of bilateral relations between Sudan and Turkey
The Transitional Sovereignty Council Vice, General Mohammed Hamdan Dagalo has praised the high level of bilateral relations between Sudan and Turkey, which he describes as strategic and historical relations.
The statement was made during a meeting at the Presidential Palace with Turkish Ambassador to Sudan, Ismail Cubanoglu.
Dagalo praised the Turkish support for development and humanitarian projects in Sudan, which significantly contributes to strengthening stability, peace, social community.
The Transitional Sovereignty Council VP stressed on the importance of promoting the bilateral relations in the political, economic, and cultural fields.
In a press statement, Ambassador, Ismail Cubanoglu stressed the keenness of his country to strengthen its relations with Sudan in education, political, economic, cultural, commercial fields, pointing out to the importance of working hard to achieve the interests of the Sudanese people to maintain peace and stability, and development.
He added that Turkey will continue to provide humanitarian aids, promote institutional capacities in Sudan.
He pointed out that the upcoming period will experience meetings of the Joint Economic Committee, and other high-level meetings to enhance the commercial, economic relations between the two countries, underscoring that the relation between Ankara and Khartoum witnesses a significant development, within the framework of his country's plan to strengthen the relations with Sudan, as the gateway of Africa.

redpajama_set_name: RedPajamaCommonCrawl


text:
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  ~ distributed under the License is distributed on an "AS IS" BASIS,
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redpajama_set_name: RedPajamaGithub


text:
Research Ford Trucks
Find Your New Truck at Fox Grand Rapids Ford!
View InventoryApply for Financing
There are all kinds of trucks out there, but the leader of the pack has been the Ford lineup. For years, decades even, the best-selling truck in America has been the Ford F-150. Loyalty like that doesn't come easy and it's clear to see why the Ford lineup of trucks have been the trusted vehicle for drivers all across the country. No matter what your needs are, from a compact Ford Ranger all the way to the heavy-duty Ford F-450 here in Caledonia.
The Ford F-150
The iconic truck that beats the competition again and again is the Ford F-150. This powerhouse truck offers the well-rounded performance and features that will make your life easier than ever here in Lowell MI.
Performance & Capabilities
The Ford F-150 offers six engine options to choose from, with V6, V8, and even a turbo-diesel option to fit every need. If you're looking for off-road thrills the Raptor trim level is built to take the road less travelled. This trim features goodies like Trail Control, skid plates, a locking rear differential, off-road shocks, off-road tires, and more. NO matter what your needs are, from a well-rounded family truck to a power-packed hauler with a 13,200 pound maximum towing capacity, you can't go wrong with a new Ford F-150.
When you need a truck that will power you through all of your days work, the Ford F-150 offers all the comforts, convenience, and amenities you could want. Standard equipment includes the SYNC infotainment system, though many drivers upgrade to the available SYNC 3® system that brings a touchscreen display, smartphone integration, and more. You'll also get automatic high beams, pedestrian detection, forward collision warning, automatic emergency braking, and a rearview camera all standard on your F-150 in Byron Center.
View F-150 Inventory
The Ford Ranger is back after a brief break from production and it has already hit the ground running. This all-new model brings you new features, new technology, and more to love.
Powering your Ranger is a 2.3-liter four-cylinder EcoBoost turbocharged engine. This engine brings you 270-horsepower and 310 lb-ft of torque, which is more power than many other competitors in the class when you compare base engines. The 10-speed automatic transmission smoothly shifts and provides seamless power on the roads of Middleville. This truck can tow up to 7,500 pounds, which is more than many other compact pickups.
The Ranger comes with the SYNC infotainment system standard along with a rearview camera, forward collision warning, automatic emergency braking, and MyKey. You can upgrade your infotainment to the SYNC 3® system that brings a touchscreen display, Apple CarPlay, Android Auto, and much more. Available safety features include front and rear parking sensors, automatic high beams, adaptive cruise control, driver attention monitoring, blind-spot monitoring, rear cross-traffic alert, and lane keep assist.
View Ranger Inventory
The Ford Super Duty Trucks
The Ford Super Duty lineup offers the powerhouse trucks your crew needs for heavy duty hauling in Grand Rapids. When it comes to powerful trucks, the Super Duty offerings from Ford can't be beaten. They offer powerful engines, versatile features, and the hefty towing and hauling power that you need in Grand Rapids.
Powering your new Ford Super Duty F-250, F-350, and F-450 are a variety of engines, and our favorite is a 6.7-liter Power Stroke turbo-diesel that brings you 935 lb-ft of torque. The standard engine is a gasoline 6.2-liter V8 that brings you 385-horsepower and 430 lb-ft of torque. If you equip the diesel engine you'll get a maximum towing capacity of 32,500 pounds. Plus, you can equip your F-350 or F-450 with a set of dual rear wheels to make your towing and hauling safer and easier.
View F-250 InventoryView F-350 Inventory
To find your next truck in Michigan, come see us here at Fox Grand Rapids Ford to take one for a spin! We'll help you find the right one for you, quickly and affordably.


text:
// Copyright (c) 2012 Nokia, Inc.
// Copyright (c) 2013-2014 Quanta Research Cambridge, Inc.

// Permission is hereby granted, free of charge, to any person
// obtaining a copy of this software and associated documentation
// files (the "Software"), to deal in the Software without
// restriction, including without limitation the rights to use, copy,
// modify, merge, publish, distribute, sublicense, and/or sell copies
// of the Software, and to permit persons to whom the Software is
// furnished to do so, subject to the following conditions:

// The above copyright notice and this permission notice shall be
// included in all copies or substantial portions of the Software.

// THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
// EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF
// MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
// NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS
// BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN
// ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN
// CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE
// SOFTWARE.
#include "portal.h"
#include "sock_utils.h"
#include <string.h>
#include <poll.h>
#include <errno.h>
#include <pthread.h>
#include <fcntl.h>

#ifndef NO_CPP_PORTAL_CODE
PortalPoller *defaultPoller = new PortalPoller();
uint64_t poll_enter_time, poll_return_time; // for performance measurement

PortalPoller::PortalPoller()
  : portal_wrappers(0), portal_fds(0), startThread(1), numWrappers(0), numFds(0), stopping(0)
{
    int rc = pipe(pipefd);
    if (rc != 0)
      fprintf(stderr, "[%s:%d] pipe error %d:%s\n", __FUNCTION__, __LINE__, errno, strerror(errno));
    sem_init(&sem_startup, 0, 0);
    pthread_mutex_init(&mutex, NULL);
    fcntl(pipefd[0], F_SETFL, O_NONBLOCK);
    addFd(pipefd[0]);

    timeout = -1;
#if defined(BSIM) || defined(BOARD_xsim)
    timeout = 100;
#endif
}

int PortalPoller::unregisterInstance(Portal *portal)
{
    int i = 0;
    pthread_mutex_lock(&mutex);
    while(i < numWrappers){
        if(portal_wrappers[i]->pint.fpga_number == portal->pint.fpga_number) {
            fprintf(stderr, "PortalPoller::unregisterInstance %d %d\n", i, portal->pint.fpga_number);
            break;
        }
        i++;
    }

    while(i < numWrappers-1){
        portal_wrappers[i] = portal_wrappers[i+1];
        i++;
    }
    numWrappers--;
    i = 0;
    while(i < numFds){
        if(portal_fds[i].fd == portal->pint.fpga_fd)
            break;
        i++;
    }

    while(i < numFds-1){
        portal_fds[i] = portal_fds[i+1];
        i++;
    }
    numFds--;
    pthread_mutex_unlock(&mutex);
    return 0;
}

void PortalPoller::addFd(int fd)
{
    /* this internal function assumes mutex locked by caller.
     * since it can be called from addFdToPoller(), which was called under mutex lock
     * event().
     */
    numFds++;
    portal_fds = (struct pollfd *)realloc(portal_fds, numFds*sizeof(struct pollfd));
    struct pollfd *pollfd = &portal_fds[numFds-1];
    memset(pollfd, 0, sizeof(struct pollfd));
    pollfd->fd = fd;
    pollfd->events = POLLIN;
}

int PortalPoller::registerInstance(Portal *portal)
{
    uint8_t ch = 0;
    pthread_mutex_lock(&mutex);
    int rc = write(pipefd[1], &ch, 1); // get poll to return, so that it is no long using portal_fds (which gets realloc'ed)
    if (rc < 0)
        fprintf(stderr, "[%s:%d] write error %d\n", __FUNCTION__, __LINE__, errno);
    numWrappers++;
    fprintf(stderr, "Portal::registerInstance fpga%d fd %d clients %d\n", portal->pint.fpga_number, portal->pint.fpga_fd, portal->pint.client_fd_number);
    portal_wrappers = (Portal **)realloc(portal_wrappers, numWrappers*sizeof(Portal *));
    portal_wrappers[numWrappers-1] = portal;

    if (portal->pint.fpga_fd != -1)
        addFd(portal->pint.fpga_fd);
    for (int i = 0; i < portal->pint.client_fd_number; i++)
        addFd(portal->pint.client_fd[i]);
    portal->pint.item->enableint(&portal->pint, 1);
    pthread_mutex_unlock(&mutex);
    start();
    return 0;
}

void* PortalPoller::init(void)
{
#ifdef BSIM
    if (global_sockfd != -1) {
        pthread_mutex_lock(&mutex);
        addFd(global_sockfd);
        pthread_mutex_unlock(&mutex);
    }
#endif
    fprintf(stderr, "portalExec::about to enter loop, numFds=%d\n", numFds);
    return NULL;
}
void PortalPoller::stop(void)
{
    uint8_t ch = 0;
    int rc;
    stopping = 1;
    startThread = 0;
    rc = write(pipefd[1], &ch, 1);
    if (rc < 0)
        fprintf(stderr, "[%s:%d] write error %d\n", __FUNCTION__, __LINE__, errno);
}
void PortalPoller::end(void)
{
    stopping = 1;
    printf("%s: don't disable interrupts when stopping\n", __FUNCTION__);
    return;
    pthread_mutex_lock(&mutex);
    for (int i = 0; i < numWrappers; i++) {
        Portal *instance = portal_wrappers[i];
        fprintf(stderr, "portalExec::disabling interrupts portal %d fpga%d\n", i, instance->pint.fpga_number);
        instance->pint.item->enableint(&instance->pint, 0);
    }
    pthread_mutex_unlock(&mutex);
}

void* PortalPoller::pollFn(int timeout)
{
    long rc = 0;
    if (timeout != 0)
        rc = poll(portal_fds, numFds, timeout);
    if(rc < 0) {
        // return only in error case
        fprintf(stderr, "poll returned rc=%ld errno=%d:%s\n", rc, errno, strerror(errno));
    }
    return (void*)rc;
}

void* PortalPoller::event(void)
{
    uint8_t ch;
    pthread_mutex_lock(&mutex);
    size_t rc = read(pipefd[0], &ch, 1);
    if (rc < 0)
        fprintf(stderr, "[%s:%d] read error %d\n", __FUNCTION__, __LINE__, errno);
    for (int i = 0; i < numWrappers; i++) {
        if (!portal_wrappers)
            fprintf(stderr, "No portal_instances revents=%d\n", portal_fds[i].revents);
        Portal *instance = portal_wrappers[i];
        instance->pint.item->event(&instance->pint);
        if (instance->pint.handler) {
            // re-enable interrupt which was disabled by portal_isr
            instance->pint.item->enableint(&instance->pint, 1);
        }
    }
    pthread_mutex_unlock(&mutex);
    return NULL;
}
extern "C" void addFdToPoller(struct PortalPoller *poller, int fd)
{
    poller->addFd(fd);
}

void* PortalPoller::threadFn(void* __x)
{
    void *rc = init();
    sem_post(&sem_startup);
    while (!rc && !stopping) {
        rc = pollFn(timeout);
        if ((long) rc >= 0)
            rc = event();
    }
    end();
    printf("[%s] thread ending\n", __FUNCTION__);
    return rc;
}

static void *pthread_worker(void *__x)
{
    ((PortalPoller *)__x)->threadFn(__x);
    return 0;
}

void PortalPoller::start()
{
    pthread_t threaddata;
    pthread_mutex_lock(&mutex);
    if (!startThread) {
        pthread_mutex_unlock(&mutex);
        return;
    }
    startThread = 0;
    pthread_mutex_unlock(&mutex);
    pthread_create(&threaddata, NULL, &pthread_worker, (void *)this);
    sem_wait(&sem_startup);
}
#endif // NO_CPP_PORTAL_CODE


Basler integrates a new feature into selected ace U and ace L camera models: "Vignetting Correction" allows the correction of edge shadowing in the case of an image circle that is too small in relation to the sensor size. This allows users to take advantage of smaller, less expensive lenses without sacrificing image quality.
Vignetting is a well-known phenomenon in image processing and describes the decrease in image brightness towards the edge. If the image circle of the lens used is too small in relation to the camera sensor, this effect can manifest strongly and affect the image quality accordingly. Details at the edge of the sensor can then only be inspected poorly or not at all. The inspection is made more difficult by the different brightness values across the image. In many cases the choice of a larger lens – for example from 2/3″ to 1″ – can help, but this solution is usually associated with higher costs.
Vignetting Correction is a patent-pending feature from Basler that corrects the described unwanted effect in a unique way, thereby enabling cost savings when combining cameras and lenses. After a one-time calibration of the camera, there are no negative effects on frame rate or image quality as the correction values are stored in the camera and automatically taken into account in the image output. Thus, for example, users can combine ace cameras with Sony IMX304 or IMX253 1.1″ format sensors with 1″ lenses without having to accept any edge shadows. It is no longer necessary to switch to a lens with a larger image circle.
The Vignetting Correction feature is available on selected camera models of the ace U and ace L product lines with GigE and USB 3.0 interfaces.
The following models will have this feature available later on in the year..


text:
Interview with Nazir Tanbouli
Nazir Tanbouli is an Egyptian artist from the Mediterranean city of Alexandria. He was born into a family of painters: his great uncle Lotfy El Tanbouli was one of the early Egyptian Modernists and his uncle Ibrahim El Tanbouli was a member of the Free Painters movement emerging in the 1970s, and still an active painter today.
Nazir Tanbouli studied interior and theatre design at Alexandria University School of Fine Arts, but before he even began his foundation year he was an exhibiting artist. From the first moment he could hold a pen in his hand, he has been drawing. He graduated from Camberwell in 2010 with an MA in printmaking and book art, and in 2011 he founded the award-winning artist-run Studio 75.
About drawing and 'sensual geometry'
Nazir Tanbouli: I do what I do everyday for the last 30 + years. I draw every day. Just the chances are different, the places are different, the projects that my drawings might be involved in change, but the only things that does not change is that every day I sit at the table and draw.
Strangely enough, since I was 2 years old I got hooked on black, all black mediums – ink, pencil, graphite, markers, black acrylic…
Somehow with the simplicity of black on white paper, drawing becomes more of a practice of meditation or thinking, rather than doing art. Some people call it doodle – I wouldn't like to say doodle. It's more of; it's a way of prayer, of meditation, a way of contact with your inner self. It's a bit like drumming or writing your diary at the end of every night. It's my every-night share of drawing that makes me stabilise things in my head and my thinking process. And while I'm doing that, drawings get to be produced – but it's not mainly about making art. It's thousands and thousands of A4 over the years and they've usually got all that I think of and they've got the progress of my life and the progress of my work, and my ambitions… that's why they are very important. That's why I keep them.
GM: So it's like a diary or a journal? –
NT: No – it's more of hieroglyphic or illustrated diary. Anyway I think they are the most important thing in my work, although I don't usually exhibit any of them. Exhibiting is not the issue.
Drawing is a foundation for a lot of things and it can join a lot of things. At the same time, it can stand on its own as an art form. So, drawing being my art form provides me with individualism when I need to do my work on my own; I don't need to join any other artists. At the same time, in doing drawing I can really join a lot of work and I love to join in co-operation with a lot of artists.
That's why I think its really more interesting to be a drawer. It's more open to practice a lot of things, you know, that link to drawing, because every visual can link to drawing.
GM: The thing you're best known for here in the UK is murals – a couple in Nottingham, and in East London you did a number of them, including the massive King's Land project, where you did murals on every one of 13 buildings. Why murals?
NT: What's in it for me? Me enjoying the traffic getting slower near the mural, because people are looking at it while they're driving! It's like a pop tune that, you can't help it, you have to listen. I enjoy that.
GM: How did you come up with composition for such large scale surfaces?
There is actually no composition. There is some certain system where the lines link to each other, and they could link forever, if the mural was one thousand metres…… Every single part is original, but when you practice drawing for mediation you learn to follow the logic of the line, not your own logic. So if you have no plan, start with a line; the line, as direction, as length, as width, as speed, as texture. The line will start to stimulate in your head its own logic, and you will build on this logic. And by the time you hook your brain to the logical equation of this line you started with, and the line that was based on it, it becomes just mathematical logic; but very sensual mathematical logic. It's like sensual geometry.
GM: So you can apply this practice of sensual geometry to something 30 metres long?
NT: You can apply it to five kilometres long.
'Young Egyptian art'
GM: Tell me about the influence of growing up in Alexandria, surrounded by Egyptian and Hellenic art. How does this affect your work?
NT: I discovered in the last few years that I'm deeply deeply deeply genetically involved with Egyptian art. All the time I used to think that I'm as far from it as possible, but when I left Egypt I discovered that I'm very close to Egypt how it used to be a couple of millennia ago. Now I know, I'm so Egyptian in my compositions, in my lines; my feelings are very, very very Alexandria-rooted. And somehow I started to like it.
Growing up in Egypt and growing up in Alexandria are a bit different, because Egypt is classical but Alexandria is a – somehow – really anti-classical sort of city. At the time it was built it was meant to be like the first New York, where artists and writers from everywhere go and live and do something. To belong to this mix, more than where they came from. So the Hellenic art in Alexandria was a new form of art that now after centuries you consider to be 'classical' but at the time it was made it was scrubbing the floor with both 'classicals' – Greek and Egyptian.
My family background is deeply embedded in Egypt too: my great uncle Lotfy was one of the first Egyptian modernist painters but he was also a renowned Egyptologist: he supervised the moving of the temples at Abu Simbel, and I heard he was also something of a mystic, a shaman … Another visual influence though is African art: my father collected African art and he had lived in Somalia for a time, so that was all around me at home.
GM: Lets look back at the Egyptian art scene. How do you see your place in it?
NT: In late 1980s early 90s there was what was called at the time 'Young Egyptian Art' and it was too much like Young British Art: it had the same characteristics, was in the same time and it looked very interesting in the beginning. I finished art school in '93 and I just joined in the right time, and I've been to good places at a very young age. You know, winning big prizes and being sent to Biennials. It was amazing.
And then suddenly I felt like 'I'm not happy with that, it's not about that,' and so I had to leave the whole scene and start again.
It's not about hating success, but what happened is that we were all young graduates – there wasn't actual success. It was nonsense. We were treated as successes at a time when we were just a bunch of raw talented boys and girls. It's that vampiric fascination with youth, not with art at all. But I don't care about being in some certain scene, or outside some certain scene. Art is about your own sense of fulfilment and that's why I do the whole job in the first place. So if the whole thing looks hunky dory and I'm not happy, I'm not happy and if I'm not happy I'll just go and start somewhere else, start it from scratch.
I was 24 years old and I was a big artist, but I was actually a young foolish boy. And while we've been treated nicely and put in very good places, I've seen old painters who've been in the business for years and working hard, just being buried because the scene wasn't ready for anything except 'Young Egyptian Art.' So the idea of old became shameful, any work that was rooted in lifetime experience became 'not interesting' and the whole thing started to go in a direction that disgusted me and that I didn't belong to. I got out: I did what a few Egyptians have done for ten thousand years: I went out into the desert!
GM: How was that an influence on you and your work?
NT: I went to the desert about eight months before I had to give my work to the Cairo International Biennial. I was thinking about my work and where I wanted it to go so I left: during this eight months I took with me some biros, some A4s and Leonardo da Vinci's book of anatomy. I spent the months looking in my work without doing work, and if I needed really to draw I made myself stick to da Vinci's anatomy book. Until the book got stolen. I lived alone on a huge tract of land and I had to build my own house with my own hands …
GM: So you lived a kind of hermit life?
NT: Not really a hermit! As long as you can go to market on a Saturday and buy a sack of potatoes, you're not a hermit. Let's say it was a sort of basic life, but a hermit life is when you really can't reach a sack of potatoes! I lived on potatoes, tea, sugar and occasionally I could get the odd pint of milk. This itself was a bit of luxury compared to a hermit. But it was minimal.
GM: So the desert was a serious 'reality check'?
NT: I remember when I first went there I had instant coffee and instant Coffee-Mate, so to live on potatoes after that – that was a
reality check. I had long hair and there was no water to wash it so I was bald, and that was a reality check. But the biggest reality check wasn't in the hair or in the coffee it was – the desert is about zero noise. And the moonless night is zero light. And if there were clouds between you and the stars, you can't see the palm of your hand. The human experience of living for 2-3 days where, by the time the sun sets, you're on you own in the desert and you can not see the palm of your own hand … It's real experience, real fear, real worry.
You feel small, because you are small. And you face the fact of being small and then you start to enjoy the fact of being small. And then after 8 months when you go back to the city, you feel that all of this 'I'm big' bullshit is quite fake. You can't do it any more.
GM: That must have affected your approach to your work, didn't it?
NT: My early work was more about looking good. It was, let's say, flashy work. It won prizes and people were excited about it, but it was nothing but show. The desert made me want to strip the style out of the job and leave the substance. So when I did this in the beginning I had to face the fact that I was young, new graduate, who knew a few tricks that make style. When I took those tricks and the style out, the substance was near zero. But what was more important for me was facing the fact that I'm on ground zero as an artist and there's a long way to go.
There are some issues in art, related to your human experience as age, and it doesn't matter how smart you are, or how talented you are; it doesn't matter how well trained you are, it doesn't matter if you have been taught to draw and paint since you were two. All of this doesn't matter. There are things in your psyche that will not even start to sit in your head until you're 30 or 40. And until you feel this way you will not work this way. There are some points where you really need conscious experience being built in your practice and your work and your conception. And this could never happen while I'm 24.
I know that we live in a time where you can be 24 or 20 or under 30, and be 'big and rich and famous' and everybody's talking about you and everything, but it is just illusion. The fact of the matter is, art is a human practice. It's not about dealers getting some oligarch to buy your work. Making culture is more fundamental and important than that.
Subject matter: Art and Life
GM: Your work seems very critical, very topical. Do you agree with that?
NT: I work on everyday subjects, my feelings about everyday subjects. You might see a few guns, bits of violence in my drawings… I'm a just a guy, listening to the news, hearing about people being stabbed and killed every single day – and every single night I go out knowing that I might be the one who'll be on the news tomorrow.
I did this strange drawing of a dog biting in a human hand. And I myself, I felt like 'What on earth are you doing, man? Where do you get these twisted thoughts?' And the following day on the radio, I heard about a guy who let his dog run out in the field, the dog came back carrying a human bone. So my panic and my drawings are not far-fetched after all. You really got dead bodies on the street and you got dogs running in the garden carrying back to the house carrying back human bones. So this disturbing drawing of mine actually happened and it's not surreal – it's too damned real. And that's what makes it scary!
I feel that there's enough people being cynical, and clinical, and I feel that I want to say things as it is, there's no place for irony, there's no place for cynicism. I despise "postmodern irony." People today think that "political" art has to preach or to say "it's a comment upon blah blah" – be really obviously political, and a lot of the time it's hypocritical. But if you have views, they will appear in your work and you don't have to be overt. Velásquez could paint Las Meninas and through it tell us a lot about what he thought about the place of the artist in society, and the illusion of kingship – yet he did it for the king who loved it. That's political. Anyway, things around us are strange and if I don't understand them at least I have to scream them out through art.
GM: Yet many of the images that occur in your work could be said to be almost archetypal.
NT: What you call archetypal images – it's about images that most of us, as humans, we share in common. And my work has got some of that. But each one of us has got his or her own symbols.
For example the drawing series 'Egyptian Songs of Love and Death' It was about the things that mark significant process on the timeline between birth and death. It's about the womb, and it's about the birth, and it's about celebration of the new child, and it's about the ego and the bravado of the young man, and it's about the weakness and the wisdom of the old, and it's about how after the old dies and rots, he or she expects to come back as a very light new flying spirit. Yet to reconnect with and one to rejoin the same old body in a young state … it's a butterfly circle.
It's a butterfly circle and I always talk about death in general and I'm always obsessed by my own death. Egyptians are like that. And this series, it's not about 'talking about Egyptian culture', as much as it's my own culture, practised to sort out some issues I have with death. It wasn't exploration of Egyptian motifs – it was my own exploration of my own motifs – and I happen to be Egyptian. And that's why they look like Egyptian motifs.
GM: How do you approach the issue of audience in your work?
NT: This is the most interesting thing. I don't see art as monologue. I'm always interested in the audience, I'm always interested in who's going to see the work, where the work is going to be exhibited, how these people think and what is the best way to communicate with them. So my work changes with the change of the audience and the change of the country.
Success for me is finding a room ready for me to exhibit my work, and finding an audience who is happy to come and look at my work whenever I do it. Lack of success is to either not work, or to work and pile it in your studio – no-one wants to show it and no-one gets to see it. That's why I founded Studio75, to bring people off the street into the studio every day to see me work or to let others show their work.
I'm a normal guy; I live in a normal flat in a normal street, with normal neighbours. I have normal problems and normal fears. So, just because I have a way to express these ordinary fears – this does not mean that my format has got to be for some certain people or about some certain people. It's a form of contact; it's my side of the dialogue.
When I came to England and I was restarting my career with no money and no support, I worked in a factory. It's the best thing I could have done cos it introduced me to the real England, to the people. If I'd just have come to do the MA and sat in the art school first I would not have adjusted so well…. Anyway at the factory I sat in the canteen and I did some doodles on an old newspaper. And by the time I put some drawings on the paper, my relationships with the people in this place became different. So… I draw mainly for my own functionality. It provides me with better living, with better interaction with people. It's very basic. Even if I didn't make anything from art more than this I'm quite happy: it's my tool for everyday life.
GM: What about your education at Alexandria Academy of Art and your MA at Camberwell?
NT: During my undergraduate, I was a bit of an anarchist. So I didn't accept to listen much to the teachers while they were talking to me, as much as I sneaked and listened to the teachers while they were telling other people – you know. I was that kind of kid at the art school.
GM: Rebel?
NT: No, not rebel. Trouble. [laughter]
So, as long as you know this about yourself – fantastic. I got my Art Degree and whatever I'm gonna learn after that every single day of my life, I learn it my own way. Even on the MA – I just lived in the studio the whole time, I didn't bother with classes. Since childhood the existence in a classroom turns me naughty. I just can't behave when you put me in a classroom; all the bad blood in my body runs.
GM: But you learned a lot outside the school, from older artists; which of course is an option that most students don't really have here.
NT: Alexandria Art School started as an artist-run art school. Ahmed Osman, Alexandria-born sculptor educated in Cairo – Cairo art school was more aristocracy based, funded by the royal family and stuff. Alexandria Art School was more of a rebel institution, this sculptor came and collected his friends and they started to teach. After the Revolution the whole thing became nationalised, it became part of the government agenda. The 'refugees' of that generation were very interesting and these were the people I looked for and socialised with. Whenever I heard about somebody who was good back in the 1960s and now he lives in a small flat and nobody knows what he's doing – I used to go and search for these guys and I was never disappointed. They were always doing great work.
One of the things I was doing at Studio75 was teaching young artists and I am still up for that. It's the artist's responsibility to pass on knowledge to the next generation, you can't just expect institutions to do it.
GM: And what is next?
NT: There is no next, it's all happening all the time. I'm travelling the world doing drawing performances. I'm painting murals, I'm working with traditional Egyptian craftsmen to make tapestries. I'm making books. It's about art as life.


At Contre Gambit Philidor, Frederic Fournier analyzes my win as Black against Taran Idnani.
On Saturday, I finished with a score of 1-1-2 in the grand prix tournament at Chess Mates.
16.f5 gxf5 17.gxf5 Rg8 18.fxe6 Bg3+ 19.Ke2 fxe6 20.Qh5+ Ke7 21.Bg5+ Nf6 22.Raf1 Rf8 23.Rxf6 Rxf6 24.Rf1 Kd6 25.Bxf6 Qc8 26.Be5+ Bxe5 27.Qxe5+ Kc6 28.Rf6, Black resigns.
On February 28th, Garry Kasparov lectured at Oxford on "Reviving the Spirit of Innovation."
Magnus Carlsen on "Charlie Rose"
On Wednesday, Magnus Carlsen was interviewed by Charlie Rose.
Asim Pereira [pictured] obtained a provisional rating of USCF 2014 at tournaments in 2008, when he resided in the United States.
Now Asim develops chess apps for Android, as follows.
iChess - lots of chess tactics to solve, all offline. Can also load your pgn or purchase recent tactics, based on openings or from 2013 games.
Chess Book Study - a very innovative app that shows a board and an eBook in the same screen. Makes it easy to study chess books. One can even dictate, and the moves are made in the board.
Analyze This - analyze a position with two engines, simultaneously!
Asim has a blog and is on Facebook.
At the eprof.com website, Columbia Academy has a profile where I am listed as the chess instructor.
For nine weeks starting May 25th, I will be giving Internet lessons every Saturday morning from 9am to 10am. The course is designed for intermediate and advanced players.
Syllabus: I will show the value of each piece at the beginning of the game and how to increase the value of your pieces while decreasing the value of your opponent's pieces.
Syllabus: I will teach the three rules of the opening: move your pieces toward the center, castle your king to safety, and move each piece only once.
Syllabus: Tactics will be demonstrated; e.g., pins, forks, skewers, double attacks, and discovered checks.
Syllabus: Different middlegame strategies will be discussed, such as passed pawns, minority attacks, and blockades.
Syllabus: Basic endgame technique will be demonstrated.
Syllabus: I will explain the five considerations that a chess master concentrates on: center, tempos, material, initiative, and coordination.
Syllabus: The King's Indian Attack and King's Indian Defense will be analyzed, as a flexible system for both White and Black.
Syllabus: We will look at famous chess games from the past.
Eighth class title: Art, Science, or Sport?
Syllabus: Is chess an art, science, or sport?
On Monday evening, I played this game at the Marshall Chess Club.
32.Rd7 Bd4 33.Nd6 f6 34.Nf5 Nf4+ 35.Kf1 Ne6 36.Re7, Black resigns.
On Sunday morning, I played this game at Chess Mates.
31.Nd4 Qb6 32.Qb5 Qxb5 33.Nxb5 Bf8 34.Kc2 Ne4 35.Bd4 Nd6 36.Nxd6+ Bxd6 37.Ra1 Rxa1 38.Rxa1 Ra8 39.Rxa8 Kxa8 40.Kd3 Kb7 41.Be5 Be7 42.Kd4 f6, White resigns.
Yesterday I finished with a score of 2-1-1 in the game/45 tournament at Chess Mates.
31.g3 c4 32.bxc4 Nxc4 33.Qd3 Qc5+ 34.Kg2 Ne3+ 35.Kf3 Nc4 36.Kg2 Ne3+ 37.Kf3 Ng4 38.Nd1 Qg1 39.Ke2 Qg2+ 40.Ke1 Qg1+ 41.Ke2 Qg2+ 42.Ke1 Qg1+ 43.Ke2, draw.
Robert Byrne played his own variations against me twice.
At the Bar Point, Byrne defeated me with 6.Be3 in the Sicilian Defense.
Then, at the Manhattan Chess Club, he beat me with 9.Rb1 in the King's Indian Defense.
Today the April 29, 2013 issue of Time magazine goes on sale. In it, Time reveals the tenth annual "Time 100," which lists the 100 most influential people in the world including Magnus Carlsen.
For the first time, the issue features seven separate covers, each displaying a member of the "Time 100."
Grandmaster Leonid Yudasin will be the instructor all 8 weeks.
For more details on the camp, please send an e-mail to chessmates@chessmatesnj.com or call us, during regular business hours, at 732-499-0118.
Playing in the one day schedule of the under 2300 tournament, I took these pictures on Sunday at the Marshall Chess Club.
Last night, this game was played at the Marshall Chess Club.
48.Rd3 d5 49.Kc1 d4 50.a3 Nc5 51.Rg3 Bf5 52.Rf2 Kh6 53.Kb2 Rh4 54.Rh2 Ne4 55.Rb3 Nc3 56.Rb4 Re4, White resigns.
49.Kg3 Kf6 50.Kg4 Ke7 51.Bg6 Kf6 52.Bf5 Kf7 53.Kg5 Ke7 54.Kg6 Kd8 55.Kf7 Kc7 56.Ke7 Kb8 57.Kxd6, Black resigns.
Yesterday I drew this game in the grand prix tournament at Chess Mates.
14.Ne4 Bf8 15.Nxf6+ Nxf6 16.Qd3 Rxe1+ 17.Rxe1 Qa5 18.Ra1 Re8 19.Bd2 Qc7 20.Re1 Rxe1+ 21.Bxe1, draw.
Roger Ebert on "Brooklyn Castle"


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Former Kansas Pitcher Commissioned into Marine Corps
LAWRENCE, Kan. — Former Kansas pitcher Thomas Marcin held a ceremony for commission into the United States Marines Corps on Friday, Sept. 16 with several of his Jayhawk teammates and coaches in attendance at Hoglund Ballpark.
Marcin, who played at KU from 2007-10, graduated from KU last school year and attended Officer Candidate School (OCS) in Quantico, Va. He also completed his flight school and passed his physical prior the ceremony.
At the ceremony, Marcin stood at home plate was sworn in by Captain Brian Olmstead, while Gunnery Sergeant Volinsky read Marcin's orders. He was then "pinned" by his parents, Steve and Carolyn, who put the appropriate pins on each shoulder, while his brother, Scott, placed the pin on his chest. He was also handed his sword by his uncle, Tom Lowenstein. Nearly 70 former teammates, coaches and family members were in attendance.
"It was really nice for everybody to show up, I wasn't expecting that many people to be there," Marcin said. "It just shows you how much of a community it is at KU and especially on the baseball team."
"Everybody associated with our KU baseball program enjoyed being a part of Thomas Marcin's special day," Kansas head coach Ritch Price said. "He had former teammates come back from all over the country to honor him and be a part of his ceremony. We all wish him continued success as an officer in the United States Marine Corp."
Marcin played four seasons for Price, appearing in 39 games, including 37 out of the bullpen. He recorded 39 strikeouts in 47 innings and a career ERA of 5.17. He was given the Ron McDonald Coaches Award following his senior season.
He will go into active duty in the Marine Corps in April, 2012.
Nearly 70 teammates, coaches and family members were in attendance to see Marcin's Commission Ceremony.