The main purpose of this text is the study of the human voice based on its intertextuality in the electroacoustic piece El arco de luz (Macarena Aguiló) and the feature-length documentary El edificio de los chilenos. To do this, specific objectives will be addressed, such as analyzing the electroacoustic use of the voice, from its acoustic parameters and temporalities, analyzing the sound sources present in the documentary from an acousmatic perspective and, finally, relating both sound universes from an analysis of the narrative, in terms of memory construction, investigating the possible connections between both sound objects. In this working context a different regime of visibility between both works is proposed and problematized since, in the documentary, the sound of the voice interacts with visuality and its modes of representation versus the relegated visuality of sound in listening to the electroacoustic work. From here it is possible to project, in any case, a point of intersection between both objects: the absent, acousmatic corporality of the sound of the voice.