"Radio Net (part 1)" (1977) by Max Neuhaus
Max Neuhaus was classically trained as a percussionist; in the 1960s he experimented with forms of music and sound that the listener would discover in unexpected places. This included radio, and in 1966 Neuhaus created a piece on WBAI in New York called Public Supply. Created before the days of call-in radio, Public Supply invited people to phone in to several lines and make sounds live on air. Neuhaus did a live mix in the radio studio of these incoming calls. Neuhaus said, “It seems that what these works are really about is proposing to reinstate a kind of music which we have forgotten about and which is perhaps the original impulse for music...: not making a musical product to be listened to, but forming a dialogue, a dialogue without language, a sound dialogue.” In 1977, National Public Radio invited Max Neuhaus to do another experimental live broadcast, this time across the entire NPR network. 190 NPR affiliates across the US participated in the piece which was called Radio Net. Each station broadcast instructions for people to call in and whistle live on air. This time, rather than doing a live mix himself, Neuhaus had rigged up a complex automatic mixing system that created loops out of the incoming whistles, giving priority to the highest pitch sound at any given instant. Max Neuhaus’s Radio Net, in its entirety, is 2 hours long; The Wave Farm Radio Art Archive broadcast series includes part 1, which is about 70 minutes.
- Described by Wave Farm Radio Artist Fellow 2019/2020, Karen Werner.

"Receive-Transmit-Receive" (2020) by Shortwave Collective
Tessellated radio transmissions gathered during the height of the COVID-19 pandemic, offer a global cocoon of modular compositions in Shortwave Collective’s Receive-Transmit-Receive. CQ code fragments, telephone conversations, and marine navigation weather reports, are woven into enigmatic harmonics and alternating digito-cosmi frequencies. Delivering sounds that range from a Bosnian Radio Station and a muffled Eagles “Hotel “California,” to a skillful fade of electronic humming into wind swept landscapes and eerie rhythmics. Classic shortwave STANAG signals, radio hams, time, utility, and number station transmissions, live alongside the tablah of a rich East Indian ballad and an array of European news broadcasts. Listeners are invited into a moveable audio feast where the traditional Chinese Guzheng, fades into a commentary on Taekwondo, only to be interrupted by distant intonations of Islamic prayer chants, and Italian CQ. The piece is a veritable call and response between the members of the Shortwave Collective, whose 10 cross-disciplinary practitioners feature Alyssa Moxley, Brigitte Hart, Franchesca Casauay, Georgia Muenster, Hannah Kemp-Welch, Kate Donovan, Lisa Hall, Maria Papadomanolaki, Sally Applin, and Sasha Engelmann, spanning a global radius that stretches across France, Germany, Norway, Greece, the UK, and the USA. Receive-Transmit-Receive offers imaginative possibilities for inquiry, intimacy, and connection within the nebulous liminal. This work was originally broadcast on Radiophrenia (Centre for Contemporary Arts in Glasgow, 2020), and as part of RAD Performance's International Women's #TakeBackTheStreets Soundride in Vienna (2022).
- Described by Wave Farm Radio Art Fellow Desiree Mwalimu-Banks.

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.