Jules ︎ Julien

  1. Upcoming: Angler
  2. Soft Wear
  3. Feed Me Colors
  4. Phantasm Atlas
  5. Mnemosyne
  6. Empathetic
  7. Glaze Space
  8. Ping!

Teaching & Workshops
  1. Critical Computation Lab
  2. Speculative Camera Filters
  3. Prototyping AR Cosmologies

Client Work Website︎︎︎

  1. Julien Kris is a media artist, game designer, and creative technologist who uses software “incorrectly” to invent alternative interfaces for his body when mainstream technologies fail him. Jules’ projects have been featured at museums and festivals in the United States, including the UCLA Game Art Festival at The Hammer Museum, Indiecade Festival, Different Games Conference, LA Weekly’s Artopia, and CultureHub LA. He’s taught workshops at NYU ITP, Processing Community Day, Pepperdine University, Navel, Tiny Tech Zines, and Glendale Tech Week.
  2. Jules most recently worked as a Creative Technologist at Buck︎︎︎ and Part-Time Faculty at Parsons︎︎︎He is a co-organizer with Tiny Tech Zines︎︎︎.

  3. Jules holds a BA in Design Media Arts from UCLA, where he co-founded voidLab︎︎︎, an LA-based intersectional feminist collective for women, trans and queer people. Jules is an alum of the UCLA Game Lab︎︎︎.

Get in touch at hi.jules.kris@gmail.com


Speculative Camera Filters

I originally taught Speculative Camera Filters at Tiny Tech Zines fair in Los Angeles in 2019, followed by further iterations at STACKED Expo and at Pepperdine University.

We know that graininess and sepia tones generate nostalgia, but how do invent more complex emotional and personal landscapes through the use of filters? What would a gender-euphoric filter look like? A hangry filter? An itchy filter? A gregariously sleep-deprived filter? A petty jealousy filter?

In this workshop, we used analog craft materials and everyday objects to “reverse-engineer” camera filters to better understand their emotional impact. We explored the potential for “filters” to modulate or manipulate emotional responses to images and footage. In this context, a “filter” is anything from a color photogel, to graininess in old film, to a shader in a 3D game, or even our most literal contemporary interpretation: the face filter.

Working from a mix of pre-written and workshop-generated prompts, participants created their filter inside of a plastic half-sphere and recorded images and footage with the half-sphere overlaid on their phone camera. Through the workshop, we investigated the ways in which filters can be used to influence perception, in order to better understand how they can embed biases into technology we assume to be neutral. 

Stepping Outside and Blinking at the Sun by Sara Haas

An Aquarium But Backwards by Syd Rein

Elephant in the Room by Veronica Rowan

Future Citizens Celebrating the End of Work by M. James Becker