Hey there -- if you subscribed to the Twofivesix podcast, we've made some changes to our focus. I'm working with museums, collections, galleries, and cultural orgs on the same big problems I used to help corporate clients with. Hope you enjoy!

What does it actually take to exhibit game-based art in a museum? Beyond the romantic notion of "games as art" lies a complex reality of technical requirements, development timelines, and institutional infrastructure that most cultural organizations simply aren't prepared for.

Today, I'm speaking with Theo Triantafyllidis, an artist who builds what he calls "performative systems where natural and synthetic intelligences rehearse their coexistence." Working with games, live simulations, performances, and installations, Theo creates darkly playful procedural worlds that turn phenomena like ecological collapse and networked desire into experiences that can be felt rather than verbally explained.

Theo has exhibited at major institutions including the Whitney Museum, Centre Pompidou, and was part of the Venice Biennale's Hyper Pavilion. His work ranges from Pastoral, an intimate anti-game about a muscular orc running through an infinite hayfield, to Feral Metaverse, an ambitious eight-player multiplayer game with a custom medieval catapult rig that's been in development for over three years.

In this conversation, we go deep on the practical realities of exhibiting interactive work: Why IT staff aren't the same as technical infrastructure. How institutions fund physical installations but not digital development, or vice versa. Why a game that takes two weeks to build might tour internationally while a three-year project struggles to find the right venue. And what it means when audiences bring their player psychology into the gallery space—that instinct to test boundaries and break systems that makes games fundamentally different from other art forms.

If you're a cultural institution thinking about game-based programming, an artist navigating this landscape, or simply curious about what happens when the art world meets interactive media, this conversation offers a rare, unvarnished look at what it really takes to do this work well.

• (00:00) - The Infrastructure Gap: Why Museums Can't Show Interactive Work
• (00:43) - Theo Triantafyllidis on Building Performative Systems
• (01:30) - Beyond IT: What Game-Based Art Actually Requires
• (03:55) - The Funding Paradox: Digital vs. Physical Production
• (08:59) - Technical Realities: Maintenance, Testing, and Player Psychology
• (15:39) - Case Studies: From Two-Week Prototypes to Three-Year Developments
• (25:41) - Building Institutional Literacy for Game-Based Practice

Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts’ past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

What does it really take to build a sustainable community around experimental games? In this essential conversation, we sit down with Bria Davis, Community Director at Young Horses, to explore the intricate dynamics of gaming communities and what art-forward creators need to know before diving in.

Bria brings a unique perspective to community building, having worked her way from Discord moderator to leading community strategy for some of gaming's most innovative studios. Her journey through projects like the cultural phenomenon Blaseball offers invaluable insights for creators bridging art and gaming audiences.

Key insights for experimental game creators:

• Why fandom is like an ocean—beautiful but requiring respect and careful navigation
• The crucial differences between Discord and Twitch communities and how they serve different creative goals
• How "intimate publics" form around shared media consumption and why understanding this matters for your artistic vision
• Practical strategies for launching your first gaming community without losing creative control
• Why the loudest voices aren't always the ones worth listening to

Whether you're preparing for your first Steam release or cultivating an audience for your interactive art project, this conversation reveals how authentic community building can amplify your creative vision while maintaining artistic integrity.

Bria's expertise spans community health, cultural engagement, and the delicate balance between creative expression and audience development—making this a must-listen for any creator serious about finding their people in the gaming space.

This episode was hosted by Jamin Warren. Music was provided by Lusine.

Twofivesix is a strategic consultancy that helps artists and cultural organizations engage with gamers. Founder and CEO Jamin Warren speaks to experts at the intersection of game-based art and marketing to help you find your audience.

I'm shining the spotlight on Chris Norris, the exec from Electronic Arts who's dialing up the positive play in gaming communities. Chris is the Senior Director of Player Connection at EA.

I had a great conversation, treading the path of evolution of social interactions in video games - from the cozy comfort of couch co-op play to making friends in the far reaches of the globe. We also explored how game makers developers can inspire better behavior in players and debunk the widespread belief that gamers are antisocial.

Chris and I also delve into the exciting prospects of how using cues from physical spaces can create palpable experiences in the digital world. We're not just talking about games; we're talking about fostering positive social interactions in gaming spaces, and you're invited to join the conversation.

This episode was hosted by Jamin Warren. Music was provided by Lusine.

For more insights, signup for my newsletter.

Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts’ past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.