These were among the first babbled words of Wolfgang von Kempelen’s speaking machine when it was exhibited in 1783. Kempelen’s design, which consisted of bellows that pumped air through trachea-like attachments, forsook its native German to speak largely in French. A contemporary observer remarked that, though the machine was clearly at an early stage of development, it gave a fairly accurate imitation of a five-year-old child, with only one minor speech impediment: ‘its voice is pleasant and sweet, only the R is pronounced gutturally and with a little rumbling’ (‘la voix en est agréable & douce, il n’y a que l’R qu’elle prononce en grasseyant & avec un certain ronflement’). Elsewhere, the machine seems to have made the most of a limited vocabulary by making friends, declaring love and hailing rulers of empires past and present. A sound technology’s first words may be made to bear weighty burdens. Kempelen’s script for the machine has been widely interpreted in recent years; as, for example, the early stirrings of humanoid subjectivity. It has also been understood as initiating a tradition of ‘simulating’ human voices (along with audible sounds of all kinds) that persists beneath the dominant perceptual regime of their ‘inscription’ and ‘reproduction’. For film scholar James Lastra, sonic simulation has constantly re-emerged between the eighteenth century and the twentieth, particularly at moments when new sound technologies have been staged. The slow-breaking dawn of sound cinema is a case in point. As is well known, the premiere of Don Juan at New York’s Warner Theatre in 1926 promised cinemagoers the first truly sounding pictures, by means of the Vitaphone: a formidable mechanism that synchronised the image track to a kind of gramophone turntable. Due to their superior bandwidth, discs, as opposed to sound-on-tape, were

中文翻译：

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机器说话Ruggiero Leoncavallo，“ Vesti la giubba”（Pagliacci），I Pagliacci，第一幕

这些是沃尔夫冈·冯·肯佩伦（Wolfgang von Kempelen）于1783年展出时所说的说话机器中最初first语的词。肯佩伦（Kempelen）的设计由波纹管组成，该波纹管通过类似气管的附件泵送空气，这使它的母语为德语的人大部分都不会说法语。一位当代观察家评论说，尽管这台机器显然处于开发的早期阶段，但它相当准确地模仿了一个五岁的孩子，只有一个很小的语音障碍：“它的声音既悦耳又甜美，只有R发音正常，带有一点隆隆声”（'la voix en estaréréable＆douce，il n'y que l'R qu'elle prononce en grasseyant＆avec un当然ronflement'）。在其他地方，该机器似乎通过结交朋友，宣告爱情和称赞过去和现在的帝国统治者而充分利用了有限的词汇量。声音技术的最初用语可能会承受沉重的负担。近年来，Kempelen的机器脚本得到了广泛的解释。例如，人形主观性的早期搅动。人们还认为这是一种“模拟”人类声音（以及各种可听声音）的传统，这种传统一直存在于他们的“题词”和“再现”的主要感知机制之下。对于电影学者詹姆斯·拉斯特拉（James Lastra），声音模拟在18世纪至20世纪间不断重新出现，特别是在新的音响技术问世之时。声音电影的破晓就是一个很好的例子。众所周知，唐·胡安（Don Juan）在1926年在纽约华纳剧院（Warner Theatre）的首映式通过Vitaphone向电影观众许诺了第一张真正发声的照片：一种强大的机制，可将图像轨迹同步到一种留声机转盘。由于其优越的带宽，与通常的录音磁带相比，光盘是