"Inventions for Radio1: The Dreams" was created in 1964 by the British electronic music composer Delia Derbyshire in collaboration with writer Barry Bermange. Delia Derbyshire is best known for her work in the BBC Radiophonic Workshop which was responsible for scoring and creating sound effects for BBC radio and later for BBC TV programs. "The Dreams," which was produced for the BBC Radiophonic Workshop, is a collection of people describing their dreams. Derbyshire edited the interviews and created an atmospheric soundbed. Derbyshire shared, "Any sound can be made into a radiophonic sound by the treatment it receives. The sort of sounds we usually use are electronic sounds of various sorts, and also sounds that are recorded, picked up by a microphone, everyday sounds and also musical instruments. All these are sources of sound." The interviews are arranged in five movements according to themes: Running, Falling, Land, Sea, and Color.
- Described 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.