House with a View was created by American radio artist Susan Stone who has kindly contributed the piece, which is not widely available, to the Wave Farm Radio Art Archive. Stone had her start in radio at WBAI in NYC in 1979 producing a radio show called Radio Schizophonia with fellow radio artist Gregory Whitehead. She was involved for many years with Pacifica Radio KPFA-FM in Berkley California. Stone wrote to me about the process of creating House with a View, which was inspired by her short radio piece called Couch, which is also included in the Archive. You can actually hear clips of Couch and another of her shorts, Langue Etude, in the longer piece House with a View Stone writes, “I wanted to play with the sonic construct of moving through rooms, sounding out what might have transpired within each one. At the time the tech-play was setting up long acetate tape loops, threaded through standing audio tape decks, the tape crisscrossing my studio like a cats cradle...This created a choral outcome through the chance operations of phrasing —- how one voice became many with timing variations, one sentence at a time.”
- 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.