Jennifer Hall is a pioneer is the field of new media and has been a widely respected member of the art technology community for over a quarter of a century. An educator, curator, researcher, and artist philosopher, her curiosity in the intersectionality of art and the sciences has led her to make significant contributions to the field of embodied cognition in contemporary aesthetics.

Dr Hall received her Doctorate degree (PhD) from the Institute of Visual Studies (IDSVA) in 2015, her Master of Science in Visual Studies (MSViS.) from the Massachusetts Institute of Technology (MIT) in 1985, and her Bachelor of Fine Arts (BFA) at the Kansas City Art Institute (KCAI) in 1980, Ms. Hall is the Founding Director of Do While Studio, the first Boston-based, not-for-profit organization dedicated to the fusion of art, technology, and culture. She has taught at the Visible Language Workshop at the Massachusetts Institute of Technology, The School of the Museum of Fine Arts, Boston, Massachusetts, the Institute de Arte de Frederico Brandt, Caracas, Venezuela, and is Professor Emerita at the Massachusetts College of Art, Boston where she currently teaches in the MFA Lo-Res program. She is a Doctoral Dissertation Advisor at the Institute of Visual Studies.

In 2000, Dr Hall received the first Rappaport Prize, administered through the Decordova Museum and Sculpture Park. In both 1984 and 1985, she received the first IBM Home Computing Award administrated by the Media Lab at MIT. for developing gesture driven interfaces. In 1995 she received Woman of the Year from the National Epilepsy Association for her work with Art and Epilepsy, and in 1998 was awarded the first Anne Jackson Award for Teaching from the Massachusetts College of Art. Dr Hall has installed work at numerous international locations such as the Contemporary Museum of Sydney, Australia; the Museum de Belle Arts, Caracas, Venezuela; and St. Johns Island, Newfoundland.

Dr Hall has written numerous articles, papers, books chapters and treaties on embodied philosophy. She deploys an enactive approach to cognition as a method for understanding why we make and how we experience art. Her current work is focused on the implications of pain in aesthetics.