"12 Miles Out" (2005) by neuroTransmitter
"12 Miles Out" was created by the New York-based neuroTransmitter, a project of Angel Nevarez and Valerie Tevere that was active between 2001-2008. "12 Miles Out" was realized in 2005 in conjunction with the exhibition Airborne at the New Museum for Contemporary Art in New York co-organized by Wave Farm (then known as free103point9.) The work was exhibited for many years as an installation rather than as a piece made solely for radio broadcast. "12 Miles Out" is an example of radio art that addresses radio as content, as material, and as a space; the piece is also a kind of archive of pirate radio, an archive within the archive. Here is neuroTransmitter’s description of the piece: “"12 Miles Out" is a visual and sound installation that merges analog radio technology and line drawing. This work continues neuroTransmitter’s exploration of offshore pirate radio practice prevalent in Europe in the 1960s and 1970s, and in the US a decade later. Pirate radio is a tactic that undermines corporate media domination, and occupies the privatized space of radio bandwidth for noncommercial interests. "12 Miles Out" specifically references Radio Caroline, one of the most infamous offshore radio ships. Installed, the drawing ‘represents’ a Radio Caroline ship circa 1964, setting the scene for the radio broadcast. The audio composition mixes live and ambient sound recordings of an ocean voyage neuroTransmitter took out into international waters; archival material from Radio Caroline broadcasts; and audio that references offshore pirate radio and the shifts in territorial boundaries that govern the sea. Multiple radios within the exhibition space are be tuned to the project’s transmission frequency, or viewers can bring their own radios in order to listen to the work.” The audio portion of "12 Miles Out" is a five-minute loop.
- Introduced by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

"Radio Cycle 101.4FM" (2003) by Kaffe Matthews
Commissioned by INTERFERENCE:PUBLIC SOUND, Matthews installed a radio transmitter on the roof of Annette Works Studio in London’s East End, where it broadcast continuously from July 13-20, 2003. Bikes outfitted with radios followed mapped routes as “scores” and performed the pieces by riding while broadcasting the radio station. Community members were invited to workshops to make their own radio programs and help create the map scores for their pieces. 

Among the first of her radio-related projects, Radio Cycle 101.4 FM explored the dynamic relationship between sound, place, audience, performer, and the members of a community. When asked about her interest in radio in a Bomb Magazine interview in 2004, Matthews said, “Radio is free. Radio is private. Radio as a whole is a means of communicating; its power is astonishing. Radio is about the vibrations of molecules. It happens in the air. And that is what my music is about in general, it’s about hearing the air. So radio has begun to play an increasingly important role in my work.” Indeed, the project informed later projects such as Three Crosses of Queensbridge, Sonic Bikes, and The Marvolo Project. “I think it’s simply because I’m interested in a listening awareness,” Matthews said. “It’s a whole different world when you’re really listening. At the core, that’s what it’s about, turning people on to doing that." - Introduced 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.