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| DIS Conference | |
|---|---|
| Name | DIS Conference |
| Status | Active |
| Discipline | Interaction design, Human–computer interaction, Participatory design |
| Frequency | Annual |
| First | 1998 |
| Organizer | ACM SIGCHI, RIT (example host) |
| Location | Rotating (often North America, Europe) |
| Website | official website |
DIS Conference
The DIS Conference is an international scholarly meeting that foregrounds interaction design and human–computer interaction while bringing together researchers from participatory design, design anthropology, critical design, speculative design, and media archaeology. The conference convenes designers, technologists, and scholars from institutions such as Massachusetts Institute of Technology, Stanford University, Carnegie Mellon University, University College London, and Royal College of Art to present work that connects practice, theory, and technology. DIS situates creative, experimental, and critical projects in dialogue with established venues like CHI Conference on Human Factors in Computing Systems and CSCW.
DIS serves as a forum for multidisciplinary exchange among practitioners affiliated with Interaction Design Association, ACM SIGCHI, Design Research Society, International Association of Societies of Design Research, and arts organizations such as Tate Modern and Museum of Modern Art. The program emphasizes peer-reviewed contributions spanning paper presentations, design cases, installations, and workshops similar in spirit to meetings held by EuroHCI and NordiCHI. DIS often showcases collaborations between universities like Royal Institute of Technology and industry partners including Microsoft Research, Google Research, and Adobe Research.
The conference originated in the late 1990s amid debates that also shaped venues such as SIGGRAPH and ICAD. Early editions featured contributors from Bell Labs, Xerox PARC, and early HCI groups at IBM Research, reflecting shifts from cognitive models exemplified by work at PARC to more situated approaches resonant with Lucy Suchman and Bruno Latour-influenced actor-network theory. Over time DIS integrated critical strands associated with figures like Paolo Virno and Donna Haraway, and engaged with curatorial practices practiced at Venice Biennale and documenta.
Typical programs combine peer-reviewed long and short papers assessed alongside design-led submissions curated in formats seen at ACM conference proceedings and CHI PLAY. The event includes poster sessions, doctoral consortiums referencing governance by panels similar to NSF review formats, hands-on workshops in the style of Interaction Design Summer Schools, and interactive installations shown in gallery-like spaces such as Somerset House or university galleries tied to Royal Academy of Arts. Keynote lectures, panels, and curated demonstrations provide cross-cutting exposure similar to sessions at SXSW Interactive and Guardian Datastore events.
Research at DIS spans applied projects linked to Internet of Things platforms, critical explorations related to surveillance capitalism, and speculative interventions aligned with design fiction and science and technology studies. Active subdomains include tangible interaction research with historical precedents in Hiroshi Ishii's work, embodied interaction studies referencing Paul Dourish, ubiquitous computing narratives akin to Mark Weiser, and empathic design projects similar to initiatives by IDEO. Other threads engage with accessibility initiatives fostered at World Health Organization-influenced consortia, sustainability programs resembling United Nations Environment Programme goals, and policy-oriented research intersecting with standards from W3C.
Accepted contributions are typically published in proceedings managed by ACM Digital Library and indexed alongside proceedings from CHI and Ubicomp. Special issues derived from DIS programs have appeared in journals comparable to Personal and Ubiquitous Computing, Design Studies, and International Journal of Human-Computer Studies. Curatorial catalogs and exhibition documentation sometimes circulate through galleries and publishers associated with MIT Press and Routledge, while selected projects are showcased in databases maintained by institutions like Digital Public Library of America.
Over the years DIS has featured keynote speakers and participants drawn from a mix of academics, designers, and technologists associated with Massachusetts Institute of Technology Media Lab, Royal College of Art, Goldsmiths, University of London, Carnegie Mellon University Human-Computer Interaction Institute, and University of California, Berkeley. Prominent contributors have included practitioners and theorists connected to names such as Hiroshi Ishii, Paul Dourish, Bill Buxton, Bruno Latour, and Jane Fulton Suri, alongside industry researchers from Microsoft Research Cambridge and Google X. The event also attracts curators and artists affiliated with Tate Modern, Serpentine Galleries, and festival platforms like Ars Electronica.
DIS has influenced curricula at institutions including Rhode Island School of Design, Design Academy Eindhoven, and Royal College of Art, affecting pedagogies that bridge studio practice and research-led inquiry similar to reforms seen at Carnegie Mellon School of Design. The conference has catalyzed collaborations leading to funded projects through agencies such as EPSRC, NSF, and European Research Council, and shaped dialogues feeding back into standards work at W3C and accessibility frameworks endorsed by ISO. Exhibited projects from DIS have been acquired or commissioned by museums like MoMA and Victoria and Albert Museum, contributing to a material legacy that intersects with institutional collections and public-facing design histories.
Category:Human–computer interaction conferences