In this piece commissioned by New American Radio in 1995, Alvin Curran created a work that pays tribute to birds, John Cage, and “The Bird'' himself, Charlie Parker. Live mixing 26 tracks of recordings, the piece draws from a 30-year collection of his birdsong field recordings, a conversation between artist Maryanne Amacher and a parrot named Clifford, a recording of John Cage’s lectures at Harvard, Charlie Parker records, field recordings of a computer room at the Westdeutscher Rundfunk in Cologne, the wind blowing through high-tension wires, and the Bay of La Speza in Italy, as well as MAX manipulations of those recordings. Curran describes the recordings as placed in a “swirling, multi-purpose aviary,” and includes recordings of loons, sandhill cranes, hopoes, starlings, and prairie chickens among other birds. The work’s title comes from Leon Hausman’s 1962 book describing both bird calls and plans for bird baths and feeders.  - Described by Wave Farm Radio Artist Fellow 2020/2021, Jess Speer.

The Wave Farm Broadcast Radio Art Archive is an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. It aims to identify, coalesce, and celebrate historical and contemporary international radio artworks created specifically for terrestrial AM/FM/Shortwave broadcast, whether it be via commercial, public, community, or pirate transmission. The archive is a product of Wave Farm's Radio Artist Fellowship.

Radio artists explore broadcast radio space through a richly polyphonous mix of practices, including poetic resuscitations of conventional radio drama, documentary, interview and news formats; found and field sound compositions reframed by broadcast; performative inhabitations/embodiments of radio’s inherent qualities, such as entropy, anonymity and interference; playful celebrations/subversions of the complex relationship between senders and receivers, and the potential feedback loops between hosts and layers of audience, from in-studio to listeners at home to callers-in; use of radio space to bridge widely dispersed voices (be they living or dead), subjects, environments and communities, or to migrate through them in ways that would not be possible in real time and space; electroacoustic compositions with sounds primarily derived from gathering, generating and remixing radiophonic sources. Note: Wave Farm continues to expand this definition of radio art through engagement with contemporary practices including those revealed by Wave Farm Artists-in-residence, and the Radio Art Fellowship program.