This article examines the technological ontology of the voice through the lens of its most uncanny vessel: the speaking doll or puppet. From ancient automata to Edison's phonographic dolls and contemporary virtual assistants, the fusion of a simulated body with a captured or synthesized voice creates a hybrid entity that fundamentally challenges distinctions between living and non-living, authentic and artificial. We argue that the puppet’s voice represents not merely a technical imitation but a profound metaphysical experiment in vocal dispossession. Historically, this voice operated as a calculated, statistically tuned call (e.g., royal acclamations, the cry of “mama"), exploiting auditory expectations. Philosophically, following Derrida, it exposes the phantasm of self-present voice and the technical mastery inherent in speech. In aesthetic practice, from Shostakovich’s piano piece to cinematic dubbing, the puppet’s voice serves as a tool for therapy, deception, or character creation. Finally, in folklore and contemporary digital culture, this voice functions as an interface – a medium for communion with the otherworldly or an algorithmic agent that exists only performatively. The article concludes that the evolution of the puppet's voice traces the trajectory of voice itself becoming a pure, disembodied technology of call and response, where its ontology is no longer tied to a source but to an effect of interaction.
Markov et al. (Tue,) studied this question.