Long-run Marginal Cost Curve (LRMC)
The long-run marginal cost curve shows for each unit of output the added total cost incurred in the long run, that is, the conceptual period when all factors of production are variable so as minimize long-run average total cost. Stated otherwise, LRMC is the minimum increase in total cost associated with an increase of one unit of output when all inputs are variable.
The long-run marginal cost curve is shaped by economies and diseconomies of scale, a long-run concept, rather than the law of diminishing marginal returns, which is a short-run concept. The long-run marginal cost curve tends to be flatter than its short-run counterpart due to increased input flexibility as to cost minimization. The long-run marginal cost curve intersects the long-run average cost curve at the minimum point of the latter. When long-run marginal costs are below long-run average costs, long-run average costs are falling (as to additional units of output). When long-run marginal costs are above long run average costs, average costs are rising. Long-run marginal cost equals short run marginal-cost at the least-long-run-average-cost level of production. LRMC is the slope of the LR total-cost function.
Read more about this topic: Cost Curve
Famous quotes containing the words long-run, marginal, cost and/or curve:
“In the long-run every Government is the exact symbol of its People, with their wisdom and unwisdom; we have to say, Like People like Government.”
—Thomas Carlyle (1795–1881)
“Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, are effectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.”
—Raymond Williams (1921–1988)
“The one regret I have about my own abortions is that they cost money that might otherwise have been spent on something more pleasurable, like taking the kids to movies and theme parks.”
—Barbara Ehrenreich (b. 1941)
“I have been photographing our toilet, that glossy enameled receptacle of extraordinary beauty.... Here was every sensuous curve of the “human figure divine” but minus the imperfections. Never did the Greeks reach a more significant consummation to their culture, and it somehow reminded me, in the glory of its chaste convulsions and in its swelling, sweeping, forward movement of finely progressing contours, of the Victory of Samothrace.”
—Edward Weston (1886–1958)