"Un elemento en común alfa" (A common element alpha) is a radio piece created as a commission for Museo Reina Sofía Radio in 2014. The work presents a fiction that tells a story of a journey from Arica (Chile) to Tengri Noor, a salt lake in Tibet; from there to the ionosphere along the lines of magneto-ionic flow. The journey is narrated with Spanish voices; both computer generated and human. In addition, listeners will hear the static and drones of VLF (Very Low Frequency) waves that fill the electromagnetic space, and sounds of seals under frozen lake in Antartica; made audible with specific recording techniques such as a VLF receiver and a hydrophone. Using this mixture of materials, which at times is affected with computer programing, the artist “analyzes this electromagnetic space, which is inaudible to the naked ear but occupies a layer of our geography in which our culture, economy, science and art develop."

The recordings were made between Arica and Antarctica, passing through Robinson Crusoe Island of the Juan Fernández Archipelago and the Drake Passage. There are recordings of the ionosphere and also of Weddell seals under a frozen lake in Antarctica. "Un elemento en común alfa" (A common element alpha) “critically analyzes these artistic and scientific discourses and the capacity of both to turn all technological and creative research into commercial profitability.”
- Introduced by Wave Farm Radio Art Fellow 2022, José Alejandro Rivera

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.