Chris Brookes is based in Newfoundland and has done a series of memorable radio pieces about the loss of the fishing industry and the impact of this loss on local lives and culture in Newfoundland. "The Moratorium" refers to a 1992 government decision to put a moratorium on fishing. This ended up putting 30,000 people in the fishing industry out of work and was not a successful policy for helping fish repopulate. Chris Brookes created this radio piece in collaboration with a dancer, and you can hear the rhythm and repetition and three part structure.
- Introduced by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

"Containers" (2001) by Sherre DeLys and Russell Stapleton was produced for "The Listening Room" in 2001. "The Listening Room" was a landmark radio art show on the Australian Broadcast Corporation that aired from 1988-2003. "Containers" is a composition made of recordings of working sites in Syndey, specifically around Sydney Harbour and Port Botany in one day. I was reminded of "Containers" the other day while hearing the sounds of city construction near where I live. Because I have listened to "Containers" many times over the years, I heard these sounds of hammering, machinery and workers yelling out my window as music.
- 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.