Anna Friz is a Canadian sound and media artist and media studies scholar whose work inspires many a radio artist. Radiotelegraph, invites us into the thickly poetic space of radio. Across the vastness of space and time, we hear a lone voice greeting the listener in one of radio’s mother tongues, morse code. Anna Friz created Radiotelegraph in Seyðisfjörður a small coastal town in eastern Iceland that was the site of the first telegraph cable connection between Iceland and Europe in 1906. She describes the context of the piece: “Radiotelegraph is a beacon simulcast by a private low-watt transmitter in Seyðisfjörður (on 107.1 FM) and by Radius Chicago (88.9 FM) at sundown Seyðisfjörður time, for a period of five days in October. The beacon signals the descent of the sun into the northern night.” Here is a translation of the morse code that Anna Friz is voicing in Radiotelegraph: Clear light/ waning light/ sun setting/ day closing/ night closing in/ this is the evening of the year/ cheer us for the darksome hours/ We remains together/We are here for the night. For an interview Anna Friz did with Gregory Whitehead about Radiotelegraph, please see: desperadophilosophy.net/2013/10/21/here-for-the-night
- Introduced by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

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.