School of Humanities and Sciences
Showing 91-100 of 106 Results
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Wanheng Hu
Postdoctoral Scholar, Philosophy
BioWanheng Hu is a scholar of Science and Technology Studies (STS) whose research examines the epistemic, ethical, and regulatory dimensions of artificial intelligence, with a particular focus on machine learning in medicine. His current book project, Reassembling Expertise: Credible Knowledge and Machine Learning in Medical Imaging, is an ethnographic study of the Chinese medical AI industry. Drawing on multi-sited fieldwork, the project analyzes how, and in what sense, human medical expertise is translated into AI systems and how the credibility of these systems is negotiated across industrial, clinical, and regulatory settings. His broader scholarship engages the social studies of science, medicine, and technology; the sociology of expertise; critical data and algorithm studies; media studies; and public engagement with science.
Wanheng is currently an Embedded Ethics Fellow at Stanford University’s McCoy Family Center for Ethics in Society, in partnership with the Institute for Human-Centered Artificial Intelligence (HAI) and the Department of Computer Science. He is also an affiliate of the Data & Society Research Institute, a member of the Schwartz Reisman Institute’s AI & Trust Working Group at the University of Toronto, and a member of Cornell University’s Artificial Intelligence, Policy, and Practice (AIPP) initiative. He was previously a Fellow at Harvard Kennedy School’s Program on Science, Technology and Society (2022–23). He holds a Ph.D. in STS with a minor in Media Studies from Cornell University. His research has been supported by the U.S. National Science Foundation, the China Times Cultural Foundation, and Cornell’s Hu Shih Fellowship, among other sources, and has appeared in venues including Public Understanding of Science and The Oxford Handbook of the Sociology of Machine Learning. -
Caitlin Nicole Hubbard
Assistant Professor of English
BioCaitlin Hubbard is a scholar of early modern theater and performance history, specializing in Restoration drama, the seventeenth-century court masque, and Shakespeare.
Her research focuses on the way that the practicalities and materiality of the stage space affect dramatic literature at the level of form. Her current book project, Reading Between the Scenes: Spectacle as Action and Idea in Early Modern English Theater, analyzes how the evolution of theater architecture and set design throughout the seventeenth-century, including the move from outdoor to indoor theaters and the introduction of changeable scenery, formally restructured both the craft of playwrighting and the experience of reading drama.
Courses she teaches include The Shakespearean Stage, in which students take on the roles and recreate the documents used by an early modern playing company to experience how performance transforms text, and What Women Want in Medieval and Renaissance Literature, which recenters female voices and female desire in the canon of early English literature. -
Stephanie Jane Hunt
Lecturer
BioStephanie is an actor, director, and teacher of voice and acting. As a core member of the Bay Area theatre company, Word for Word, Stephanie has acted in numerous productions, including Tobias Wolff’s Sanity, Colm Tóibín’s Silence, Upton Sinclair’s Oil! and Susan Glaspell’s A Jury of her Peers. She was nominated for a Bay Area Critics Circle award for her performance as the mysterious Old Woman on the train in Kevin Barry's short story Wintersongs. Stephanie played Lizzie Borden in The Fall River Axe Murders by Angela Carter directed by Amy Freed. For Word for Word, Stephanie directed the productions of Bullet in the Brain and Lady's Dream by Tobias Wolff, and All Aunt Hagar’s Children by Edward P. Jones, which played at the Z Space before touring France. Also, she directed the noir thriller Angel Face by Cornell Woolrich. She has acted with Berkeley Repertory Theatre, Campo Santo, Aurora Theatre, the Magic Theatre, Berkeley Shakespeare, the One Act Theater, and in New York at La Mama. For two years with Pulp Playhouse, Stephanie performed late-night comedy improv with O-Lan Jones and Mike McShane at the Eureka Theater. She has taught voice at ACT in the Summer Training Congress, and at the University of San Francisco, San Francisco State University, Chabot College, and Sonoma State University. Stephanie text and voice coaches many of the mainstage productions in the TAPS Department at Stanford University. She has directed a number of university productions. Most recently at Stanford, she directed Three Sisters by Anton Chekhov, which was attended by the entire freshmen COLLEGE cohort. At USF, she directed Twelfth Night, and adapted and directed Alice Munro’s The View from Castle Rock. At Sonoma State she directed The Green Bird by Carlo Gozzi, Top Girls by Caryl Churchill, Dancing at Lughnasa by Brian Friel, and The Exception and the Rule by Bertolt Brecht. Her training includes an MFA from the American Conservatory Theater and certification as an Associate Teacher of Fitzmaurice Voicework. Stephanie is committed to creating and teaching ensemble-based theater with a focus on heightened language.
