1939: Aleksei Gastev, Soviet scientific manager

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On this date in 1939, the Old Bolshevik Aleksei Gastev, a theorist of scientific management for the Soviet state, was shot in Stalin’s purges.

Expelled in his youth from tsarist teaching ranks due to his radicalism, Gastev (English Wikipedia entry | Russian) traced his revolutionary bona fides back to the 1905 Revolution (he fought in it) and even before (as an ally and correspondent of Lenin).

With the advent of the latter’s revolution, Gastev founded the Central Institute of Labor (CIT), and CIT’s training firm Ustanovka (“setup” or “installation”) — organs dedicated, respectively, to the study of work, and to the promulgation of the new science of the workplace throughout the Soviet economy.

It was a socialist perspective on Taylorism, that practice of scientific management that was also transforming capitalist production; like Taylor, Gastev aimed to systematize the routine operations on the factory floor, to learn the most efficient way to wield a hammer or a shovel and expel from the labor force the indulgence of artisanal idiosyncracy and rule-of-thumb work; more broadly, Gastev aimed to revolutionize the way work was conceptualized by Soviet people, bending the mental and behavioral orientation of workers to optimize them for the demands of industrial production.

“Even when we exit the gates of the factory, still we carry the factory,” he wrote, positing a question that demanded “a cultural ustanovka.”

Fear of this very thing haunted Europe in this moment and has never left her nightmares in the century since. The CIT juxtaposed curiously with the almost simultaneous publication of some of the seminal dystopian mechanization literature — like Yevgeny Zamyatin‘s We (1921), in which the rational ordering of society annihilates freedom, and Karel Capek‘s R.U.R. (1920), the play that borrowed a Czech term for unfree work to give the world’s lexicon that wonderful word “robot”. Unsettling to many, this twining of man and machine was understood by Gastev as an emancipatory vista.

Gastev’s ideal worker is neither the oxen brute of Taylor’s dreams, nor the lifeless robot of Capek’s nightmare. He is rather an active, sentient, and creative part of the productive process who behaves like a seasoned, conscious, and well-trained warrior. Armed with sharpness of vision, acute hearing, attentiveness to environment and detail, precision and even grace of movement, and “scoutlike” inquisitiveness about the relationship and locations of things and peoples, he enters the factory as though it were a battle-field with commander-like briskness, regimental routine, and a martial strut. For him, no romance, no heroic individual deeds — only a relentless battle waged scientifically for production.

But the robot is present in Gastev’s vision nonetheless: it is the machine itself, not the man. For Gastev, the machine also takes on a life that gives it not only the power to produce and enrich, but also to train, to inspire, to organize. His wildest visions of 1918-19 are previsions of Capek and Zamyatin and celebrations of a coming event often warned about in science fiction: the takeover by machines. Gastev could never quite decide whether the machine was to be the master or the servant of man. Since he continued to use the machine metaphor, he eventually opened himself to attack by those who opposed his policies on other grounds. But Gastevism differed from administrative utopia — the heavy-handed martialing and mobilization of raw labor in a palpably unequal hierarchy. Gastev’s man-machine meant a symbiosis of the two, interacting in a way never wholly understood even by himself. It clearly contained fearful elements. But Gastev himself, by all accounts, was not a cold-hearted machine-like fanatic but a warm and engaging person. He did not fear the power of the machine. He feared backwardness, passivity, and sloth. (Source)


Dziga Vertov‘s 1929 classic Man with a Movie Camera captures the excitement of industrialization and industrial workers.

On the side — to stave off the sloth — Gastev kept up an artistic output of his own as a poet of the Proletarian Culture movement; this exemplar (Order No. 2 from a work called “Ten Orders”) comes to us via Wonderlands of the Avant-Garde: Technology and the Arts in Russia of the 1920s, which notes that “what is produced is never specified; the emphasis rather is on the establishment of a certain pace of work, as if machines manufacture a new time — the rhythm of the new life.”

Chronometer, report to duty.
To the machines.
Rise.
Pause.
A charge of attention.
Supply.
Switch on.
Self-propulsion.
Stop.

The chronometer stopped for Gastev with his fall in late 1938, and he proceeded thence to the familiar fate of Stalin’s prey amongst the intelligentsia. As he associates with the positive, modernizing, and utopian strain of the Soviet experiment but not its failures or horrors his name is not blackened to posterity and the present-day Russian Federation’s Ministry of Economic Development sponsors an “A.K. Gastev Cup” award to honor advances in production.

On this day..

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