"Birds and People" (1992) by Eugeniusz Rudnik
Eugeniusz Rudnik is known for his collage style of radiophonic composing and his interest in discarded or “shabby” sound materials –smudges or verbal stumbles. Eugeniusz Rudnik was a core member of the Polish Radio Experimental Studio ever since it began in 1957. The Polish Radio Experimental Studio (known by its initials PRES) was based in Warsaw and was a lab for artistic experimentation. Like the BBC Radiophonic Workshop, its main purpose was to sound design for all sorts of radio programs and was also tapped for collaborations with other media like film and animation. PRES closed in 2004. For more information about PRES, see: https://post.at.moma.org/themes/14-polish-radio-experimental-studio-a-close-look
- Described by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

"Future Radio" (2019) by Sol Rezza
Sol Rezza is a composer, audio engineer and radio producer from Argentina. She is interested in “the way we perceive time and space through our senses and how sounds influence that perception.” I appreciate how her piece Future Radio steps into radio space and asks who are you?
- 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.