HeyJaredEuropean Graduate School Podcast
The EGS Podcast provides a deep exploration into the world of contemporary theory and art, offering listeners exclusive insight into the always-evolving intellectual landscapes of leading thinkers and artists.
- Indexed episodes, last 90 days
- 4
- Latest publication
- Sep 14, 2026
- Audience
- Checking…
- Earliest in this view
- Aug 1, 2026
Latest episodes
Christopher Fynsk - The Rhythmic in Heidegger's Thought (opens the original)
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In this episode of the EGS podcast, Christopher Fynsk presents his introduction to his latest work on Heidegger, the book entitled Heidegger's Turn to Art: The Uses of Rhythm. This essay functions also as a comprehensive introduction to Fynsk’s upcoming seminar on Heidegger that will be held from October 10 until October 15 during the EGS session in Malta. Hosted on Acast. See acast.com/privacy for more information.
Interview with Dalibor Davidović (opens the original)
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In this episode of the EGS Podcast, Nemanja Mitrović and Sanja Kunjadić speak with the Croatian musicologist, Dalibor Davidović, about his latest work entitled Syberberg: Thinking Art by the Ear ( Syberberg, umjetnost uhom mišljena ). At this moment, this valuable and rare study only exists in the Croatian language, but in this interview, Dalibor Davidović presents his insights to an English-speaking audience. Hosted on Acast. See acast.com/privacy for more information.
Lars Iyer - Excerpt from Leviathan (opens the original)
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In this episode of the EGS Podcast, you can listen to the excerpt from the new and unpublished novel of Lars Iyer. Hosted on Acast. See acast.com/privacy for more information.
Interview with Branislav Jakovljević (opens the original)
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In this interview with Jovan Bukumira, Branislav Jakovljević speaks about theaters of atrocities, questioning the often neglected ethical aspects of performance studies. Jakovljević argues that ethics, which deals with human behaviour and actions, constitutes its own ideological apparatus within performance. He examines the theater as a site of seeing in relation to atrocity as a form of the secularization of evil, shedding light on performances that transgress their own ethical boundaries and t
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