New conditions of materiality are emerging from fundamental changes in our ontological order. Digital subjectivity represents an emergent mode of subjectivity that is the effect of a more profound ontological drift that has taken place, and this bears significant repercussions for the practice and understanding of the political. This thesis pivots around mathematician Grigori 'Grisha' Perelman, most famous for his refusal to accept numerous prestigious prizes resulting from his proof of the Poincaré conjecture. The thesis shows the Perelman affair to be a fascinating instance of the rise of digital subjectivity as it strives to actualize a new hegemonic order. By tracing first the production of aesthetic works that represent Grigori Perelman in legacy media, the thesis demonstrates that there is a cultural imperative to represent Perelman as an abject figure. Additionally, his peculiar abjection is seen to arise from a challenge to the order of materiality defended by those with a vested interest in maintaining the stability of a hegemony identified with the normative regulatory power of the heteronormative matrix sustaining social relations in late capitalism. The first chapter analyses the formal aesthetics of legacy media representations of Perelman. The second chapter focuses on new media aesthetic productions pertaining to Perelman and the political ontology of digital media. The third chapter interrogates the political ontology of the materials utilized in Perelman's work and seeks to clarify the status of the conditions of the challenge of a digital hegemony.
Author Keywords: abjection, archive, autistic reason, digital subjectivity, Grigori Perelman, ontological drift