“Blackbody” refers to a specific type of structure – a cast iron cube with a single hole pointed toward the sun – that artist Ricard Iamuuri Robinson designed and sonically manipulated during a 2021 artist residency with Wave Farm. Putting the sounds collected from two Blackbodies into relation with excerpts from "The Sunscreen Conspiracy" (a recording project under the moniker La’vender Freddy), Robinson also added audio samples from interviews and broadcast programs to produce a composition that puts concepts including racism, freedom, sound, astrophysics, colonialist anthropology, and climate crisis into a surprising and unsettling orbit around a solar drone backdrop. Explaining that the title makes reference to Frantz Fanon’s 1952 book Black Skin, White Masks, Robinson describes the work as aiming to “reveal and translate a correlation between the life of the Sun and the struggle against forces determined to destroy it.”
- Introduced by Wave Farm Radio Artist Fellow 2021/2022, Andy Stuhl.

"Fit the Description" echoes the escalating intensity of four days following Michael Brown’s murder by Ferguson police. DeLaurenti was neither protestor nor reporter. In pulsing fidelities, he melds audio stripped from files freely uploaded to YouTube and Periscope and the now defunct Vine app. From such a distance, this kind of composed sound stumbles into eerie tension: there are bold remembrances and eulogies woven with murmured epithets by witnesses to a slain body intentionally left on the sidewalk.

Memory is ripe for manipulating and DeLaurenti’s orchestration of protest examines this through palpable, sometimes contrapuntal recordings. Like his other "Protest Symphonies," sounds aren’t just smashed together; like memory, the stories are re-built. DeLaurenti’s sonic segues through social media and police scanners, even a choreographed elegy of silence and gun shot volleys, serve as a contemporary archive —a conscience—for the events at Ferguson, but also for the contentions of race, for riot’s memory. It’s a construction that brings us deeply into the maelstrom of police violence and profiled communities.

DeLaurenti is keen to explore these expanses when he asks about memory in relation to the ephemeral cloud of material where he sourced his narrative. The world was watching the events unfold, blanketing a virtual space of people living, day to day, with racialized violence. A question formed the backdrop of his composing: what does it mean to be a white artist telling Black peoples’ stories? DeLaurenti urges us to question our own complicity, no matter our backgrounds, as witnesses nowhere near the site of conflict. Perhaps to listen as if we’d never heard these pervasive stories engenders more empathy.

Radio invites both closeness and distance. "Fit the Description" lures us away from the small screen in our hands into this audible intimacy. Consider further how this very American story comes to our ears from afar as a commission of Australia’s national radio art program, "Soundproof."
- Described by Wave Farm Radio Artist Fellowship Mentor Joan Schuman.

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.