He has taught as adjunct assistant professor at Parsons MFA in Design & Technology and Parsons School of Art, Design, History, and Theory (ADHT) from 2010 to 2014. He has also taught in the Media, Culture, Communication dept of NYU Steinhardt School of Culture Education and Human Development (2009, 2010, 2011). He has also taught at NYU’s Interactive Telecommunications Program (ITP) (2007, 2008), and Trinity College’s MsC in Interactive Digital Media (2003, 2004). From 2001-2004 he was a Research Fellow in the Human Connectedness Group at Media Lab Europe and from 2006-2007 he was an R&D OpenLab Fellow at Eyebeam Center for Art and Technology in New York City. He received his Masters from ITP in 1999 and was an Interval Research Fellow from 1999-2001.
Jonah’s work and thesis focuses on the theme of “Deconstructing Networks” which includes over 80 projects that critically challenge and subvert accepted perceptions of network interaction and experience.
He is co-founder of the Dublin Art and Technology Association (DATA Group), recipient of the ARANEUM Prize sponsored by the Spanish Ministry of Art, Science and Technology and Fundacion ARCO, and was a 2006 and 2008 Rockefeller Foundation New Media Fellow Nominee. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural, Rhizome.org, Art Asia Pacific, Gizmodo and more, and his work has been presented at events and organizations such as DEAF (03,04), London Science Museum (2008), Future Sonic / Future Everything (2004, 2009), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06,09,12), Institute of Contemporary Art in London (04), Tate Modern (03), Whitney Museum of American Art’s ArtPort (03, 12), Ars Electronica (02,04,08), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA – NYC)(2008),San Francisco Museum of Modern Art (SFMOMA) (2008), and Palais Du Tokyo, Paris (2009). His work has been reported about in The Times, The New York Times, Wired News, Make, Boing Boing, El Pais, Gizmodo, Engadget, The Register, Slashdot, NY Post, The Wire, Rhizome, Crunch Gear, Beyond the Beyond, Neural, Liberation, Village Voice, IEEE Spectrum, The Age, Taschen Books, and more.
He has given lectures about his work at locations and venues such as Intel Corporation, School of Visual Arts, Ars Electronica, Canadian Consulate, NYU, UCLA, USC, San Jose State University, ISEA 2002, 2004, 2006, 2012, University of Buenos Aires, Institute of Contemporary Art London, Transmediale, Universität der Künste Berlin, Tate Modern, Oslo National Academy of the Arts, Urbis Manchester, CCCB Barcelona, Open Hardware Summit, Contemporary Art Museum Belo Horizonte, Brazil, The Banff Centre, Brown University, Carnegie Mellon University, Rhode Island School of Design, Maker Faire, Royal College of Art, Royal Library, Copenhagen, Denmark, Eyebeam, Anderson Ranch Arts Center, Pratt Institute, and more.
As the niche genre of software art expands beyond the web and into mobile devices, media artists are finding ways to integrate their work into a new form of business model. Instead of giving away your work for free on the web, Apple's iPhone and iTouch devices provide an ample platform for distribution (through the Apple App Store) and hardware support for novel ways to experience screen-based work.
Focusing on a wide array of themes such as the context of a rapidly changing planet, our evolving human / natural ecosystem, the growing global strain on natural resources, and the advancement of artistic methods on potential of technological infrastructures, the 10th edition of the FutureSonic festival spanning 14 years integrated a wide and impressive array of international speakers, workshops, exhibitions, and performances. Scattered around the bustling city of Manchester in the United Kingdom, the festival took into account both its local strengths and its global outreach to encourage debate and showcase a wide arrange of artistic projects that examined just how far we have come in these debates and how far we have to go to make sense of the evolving technological apparatus that surrounds us.
In it's 29th year as the one of the most important media arts festivals in the world, Ars Electronica 2008 focused on trying to make sense of the economic and social realities of a "knowledge-based" society, where limits of intellectual property and aging copyright laws are beginning to lose relevance in an increased international atmosphere of open systems, sharing information across networks, and collective artistic action and utility. This year's theme was "A New Cultural Economy", a vision of the present and future that imagined cultural and artistic exchange and remixing as a key indicator of the success of current and future generations. Through this 6 day festival, events ranged from conferences, exhibitions, performances, to student exhibitions such as a wide range of projects from the University of Tokyo entitled "Towards a New Horizon of Hybrid Art."