Dang! Missed the opportunity to listen - nevermind, thanks for the heads up.

It - the premise - reminded, somewhat, Dennis Potter's last play "Cold Lazarus":
"Cold Lazarus is set in the 24th century, in a dystopian Britain where the ruined streets are unsafe, and where society is run by American oligarchs in charge of powerful commercial corporations. Experiences are almost all virtual, and anything deemed authentic (such as coffee and cigarettes) has either been banned or replaced by synthetic substitutes.

At a cryogenic research institute funded by the pharmaceuticals tycoon Martina Masdon (played by Diane Ladd), a group of scientists led by Dr. Emma Porlock (Frances de la Tour) is ...

Dang! Missed the opportunity to listen - nevermind, thanks for the heads up.

It - the premise - reminded, somewhat, Dennis Potter's last play "Cold Lazarus":
"Cold Lazarus is set in the 24th century, in a dystopian Britain where the ruined streets are unsafe, and where society is run by American oligarchs in charge of powerful commercial corporations. Experiences are almost all virtual, and anything deemed authentic (such as coffee and cigarettes) has either been banned or replaced by synthetic substitutes.

At a cryogenic research institute funded by the pharmaceuticals tycoon Martina Masdon (played by Diane Ladd), a group of scientists led by Dr. Emma Porlock (Frances de la Tour) is working on reviving the mind of the 20th century writer Daniel Feeld (Albert Finney). Unable to see any profit in the project, Masdon considers discontinuing it, but the media mogul Daniel Siltz (Henry Goodman), who has been spying on Masdon, envisages making a fortune from broadcasting Feeld’s memories on TV, and proposes to Porlock that her team work for him. Porlock accepts, and her team begins to gain access to Feeld’s mind."

Yes indeed, the power of radio lies in the listener's imagination; it's provides a far more intimate experience than any TV set can provide.

I listened to the play, again and was just as impressed (as I was in my first listen) by the editing and production value of the piece. What is it about disembodied heads that holds our imagination over the centuries? From the myth of Orpheus to the head of John the Baptist (said to have been recovered and worshiped by the Knights Templar); that - in another tale- still had the power of speech but spoke in 'tongues' and couldn't be understood.

The idea of an android head was a very cool and tapped into the 'alternative' news buzz of the alleged alien...

Yes indeed, the power of radio lies in the listener's imagination; it's provides a far more intimate experience than any TV set can provide.

I listened to the play, again and was just as impressed (as I was in my first listen) by the editing and production value of the piece. What is it about disembodied heads that holds our imagination over the centuries? From the myth of Orpheus to the head of John the Baptist (said to have been recovered and worshiped by the Knights Templar); that - in another tale- still had the power of speech but spoke in 'tongues' and couldn't be understood.

The idea of an android head was a very cool and tapped into the 'alternative' news buzz of the alleged alien artifact on the surface of the moon that - apparently - looks like an android's head.

My reading of the play is that of the head as a metaphor for the chaotic, irrepressible, spontaneous, dualistic nature of humanity that - sooner or later - must reassert itself and flower - like a rare desert bloom - even in the darkest, most repressive of regimes. The idea that the head could be in several times zones at once 'seeding' the mulitverse with ideas of religion, freedom, insanity (etc) was also interesting. The notion that our heads create the liberties, prisons, insanities and beauties of this world: that it's all in our heads and that too much control or freedom can have terrible consequences. No answers in the play but the important thing is, of course - when all is said and done - is that the play was bloody funny, too.