Written by Benjamin Mangrum
Shirley Booth as Bunny Watson in The Desk Set.
Source: MUSEUM OF THE CITY OF NEW YORK
In the 1950s, a Broadway play tackled the fear that “electronic brains” would automate humans out of jobs.
The computer first appeared on the Broadway stage in 1955 in a romantic comedy—William Marchant’s The Desk Set. The play centers on four women who conduct research on behalf of the fictional International Broadcasting Company. Early in the first act, a young engineer named Richard Sumner arrives in the offices of the research department without explaining who he is or why he is studying the behavior of the workers. Bunny Watson, the head of the department, discovers that the engineer plans to install an “electronic brain” called Emmarac, which Sumner affectionately refers to as “Emmy” and describes as “the machine that takes the pause quotient out of the work–man-hour relationship.”
What Sumner calls the “pause quotient” is jargon for the everyday activities and mundane interactions that make human beings less efficient than machines. Emmarac would eliminate inefficiencies, such as walking to a bookshelf or talking with a coworker about weekend plans. Bunny Watson comes to believe that the computing machine will eliminate not only inefficiencies in the workplace but also the need for human workers in her department. Sumner, the engineer, presents the computer as a technology of efficiency, but Watson, the department head, views it as a technology of displacement.
Bunny Watson’s view was not uncommon during the first decade of computing technology. Thomas Watson Sr., president of IBM, insisted that one of his firm’s first machines be called a “calculator” instead of a “computer” because “he was concerned that the latter term, which had always referred to a human being, would raise the specter of technological unemployment,” according to historians Martin Campbell-Kelly and William Aspray. In keeping with the worry of both Watsons, the computer takes the stage on Broadway as a threat to white-collar work. The women in Marchant’s play fight against the threat of unemployment as soon as they learn why Sumner has arrived. The play thus attests to the fact that the very benefits of speed, accuracy, and information processing that made the computer useful for business also caused it to be perceived as a threat to the professional-managerial class.
Comedy provides a template for managing the incongruity of an “electronic brain” arriving in a space oriented around human expertise and professional judgment.
This threat was somewhat offset by the fact that for most of the 1950s, the computing industry was not profitable in the United States. Manufacturers produced and sold or leased the machines at steep losses, primarily to preserve a speculative market position and to bolster their image as technologically innovative. For many such firms, neglecting to compete in the emerging market for computers would have risked the perception that they were falling behind. They hoped computing would eventually become profitable as the technology improved, but even by the middle of the decade, it was not obvious to industry insiders when this would be the case. Even if the computer seemed to promise a new world of “lightning speed” efficiency and information management, committing resources to this promise was almost prohibitively costly.