"Desert Bloom" was produced in 2016 by German artist Christina Kubisch along with two collaborators: Peter Kutin and Florian Kindlinger. "Desert Bloom" won a German radio art prize called the Karl-Sczuka Prize. For much of her artistic career, Christina Kubisch has worked with electricity as a primary compositional source. She uses various devices that convert electromagnetic fields into sound that humans can hear. Her work calls attention to the inaudible but ever-present electromagnetic fields that are increasingly part of urban environments coming from computers, security systems, cash machines, internet hot spots, electric grids, and subway systems. Since 2003, Christins Kubisch has conducted “Electrical Walks” that enable participants to walk through a city with specially constructed headphones that enable them to compose their own electromagnetic explorations. "Desert Bloom," which is one such meditation on the electromagnetic soundscape was composed specifically for radio broadcast.
- 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.