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Most of the literary criticism has pointed out the importance of inscribing the voices of others or giving voice to others in Rodolfo Walsh's writing. However, the material and technological conditions under which those voices appear in his texts have been scarcely addressed. In this essay I delve into sound studies to explore the uses of the tape recorder in the writing of ¿Quién mató a Rosendo? (1969). I propose the notion of a phonoautographic writing to refer to a textual practice conceived as a transcription of voices. The article analyzes the phonoautographic writing in ¿Quién mató a Rosendo? and explores how the tape recorder allowed Walsh to incorporate and manipulate the voices of his working-class characters. My argument is that Walsh used the tape recorder to register the workers' voices in order to rearticulate in a personal way the sonic legacy of Peronism in the late 60s, a moment of crisis in the representation of the Argentine labor movement. [ABSTRACT FROM AUTHOR]

In this article describes itself, in the first place the evolution that the magnetic technological formats, magneto-optical and optical have experimented throughout history since the birth of first very rudimentary paper tapes perforated and magnetic in the process of reading and writing of information, until the development of the holographic technological 3D anatomical format; optical format of massive recording of information outstanding and very full of novelties, and secondly are enumerated and are explained the possible applications, of the new digital technologies of capture of characters written (OCR), and the new formats optical and new magnetic optical formats, contribute in the conservation, preservation and diffusion of the bibliographical patrimony and documentary spanish in century XXI. [ABSTRACT FROM AUTHOR]