Her work, in her own words, is ‘to see Hamlet splinter and be reconstituted; serve as a mask, a megaphone, and a measuring stick; and tell a story as revealing of his host’s identities as his own’. She explores the presence of ‘Hamlet’ in Arab contexts – as both a play and a character – in various forms, shapes and images, with the last chapter of her book examining six Arab Hamlet off-shoots staged between 1976-2004. The common denominator of these productions is how they reveal the political and social consciousness of the theatremakers staging the various productions.
What Bridle repeatedly warns of in his book is that we don’t know what we don’t know, particularly when it comes to tech. There is an urgent need to develop a more-than-functional or technologically-deterministic knowledge of tech and its systems