[{"content":"Artist\u0026rsquo;s Statement Film is the only medium that can capture the processual dimension of textile art. A photograph embalms an instant; a film makes it live, because it introduces duration. Artists Boxes is built on that premise.\nI filmed several people I know who work with textiles — some self-identified artists, some who just mend a bag or pick up a needle occasionally. I showed none of their finished works, only the making: hands moving, thread pulled taut, the sound of a stitch. Drawing on Bolivian textile artist Elvira Espejo Ayca\u0026rsquo;s argument that the process is not merely part of the work but is the work, I wanted the film to honor what happens before the object exists.\nThe film is structured like a textile: cuts on a regular 30-second interval, fragments repeating and building the way threads build a weave. Sandra Monterroso\u0026rsquo;s video practice taught me that placing ordinary textile objects in front of a camera transforms them — the bag being mended becomes, in the frame, an artistic object. I hoped Artists Boxes could do the same.\nTimeline and scope Spring 2026. Made as a final project for \u0026ldquo;Into the Thread: Gender and Textile Artwork in Latin America\u0026rdquo; at Bryn Mawr College.\nSkills and technologies Filmmaking, video editing, documentary interview, sound design\nLink Watch on Google Drive\n","permalink":"https://clarafee.com/portfolio/portfolio/artists-boxes-short-film/","summary":"\u003ch2 id=\"artists-statement\"\u003eArtist\u0026rsquo;s Statement\u003c/h2\u003e\n\u003cp\u003eFilm is the only medium that can capture the processual dimension of textile art. A photograph embalms an instant; a film makes it live, because it introduces duration. \u003cem\u003eArtists Boxes\u003c/em\u003e is built on that premise.\u003c/p\u003e\n\u003cp\u003eI filmed several people I know who work with textiles — some self-identified artists, some who just mend a bag or pick up a needle occasionally. I showed none of their finished works, only the making: hands moving, thread pulled taut, the sound of a stitch. Drawing on Bolivian textile artist Elvira Espejo Ayca\u0026rsquo;s argument that the process is not merely part of the work but \u003cem\u003eis\u003c/em\u003e the work, I wanted the film to honor what happens before the object exists.\u003c/p\u003e","title":"Artists Boxes (short film)"},{"content":"About A music column I started in early 2026 for The Bi-College News as an extension of my work at WHRC Radio, with the aim of building cross-organizational ties between the station and the campus press. The column covers live concerts, album reviews, and music news — focused on the Philadelphia indie and experimental music scene.\nPublished pieces:\nSparseness \u0026amp; Depth (March 23, 2026) — Reviews two Philadelphia concerts: electronic duo ear at the Warehouse on Watts, and Juliana Barwick \u0026amp; Mary Lattimore performing Tragic Magic at the First Unitarian Church. Explores their shared aesthetic philosophy of achieving maximum effect through minimum means.\nArt During an \u0026ldquo;Ambient Genocide\u0026rdquo; (April 13, 2026) — Engages with Christina Sharpe\u0026rsquo;s essay \u0026ldquo;Shapes of Grief: Witnessing the Unbearable\u0026rdquo; to examine how musicians respond to atrocity. Compares Macklemore\u0026rsquo;s explicit political gestures with Palestinian rock musician Rasha Nahas\u0026rsquo;s approach of embedding political conditions directly into musical form.\nTimeline and scope Spring 2026. Written alongside my role as Station Manager at WHRC Radio.\nSkills and technologies Music journalism, cultural criticism, arts writing\n","permalink":"https://clarafee.com/portfolio/portfolio/whrc-music-column-at-the-bi-college-news/","summary":"\u003ch2 id=\"about\"\u003eAbout\u003c/h2\u003e\n\u003cp\u003eA music column I started in early 2026 for \u003ca href=\"https://bicollegenews.com/\"\u003eThe Bi-College News\u003c/a\u003e as an extension of my work at WHRC Radio, with the aim of building cross-organizational ties between the station and the campus press. The column covers live concerts, album reviews, and music news — focused on the Philadelphia indie and experimental music scene.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003ePublished pieces:\u003c/strong\u003e\u003c/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https://bicollegenews.com/2026/03/23/sparseness-depth-ear-at-the-warehouse-on-watts-and-juliana-barwick-mary-lattimore-at-the-first-unitarian-church/\"\u003eSparseness \u0026amp; Depth\u003c/a\u003e\u003c/strong\u003e (March 23, 2026) — Reviews two Philadelphia concerts: electronic duo ear at the Warehouse on Watts, and Juliana Barwick \u0026amp; Mary Lattimore performing \u003cem\u003eTragic Magic\u003c/em\u003e at the First Unitarian Church. Explores their shared aesthetic philosophy of achieving maximum effect through minimum means.\u003c/p\u003e","title":"WHRC Music Column at The Bi-College News"},{"content":"About A research report investigating generative AI tool use in undergraduate liberal arts education, focused on Bryn Mawr and Haverford Colleges. Co-authored with Emily Lu, Emma Yu, and Olivia Boyer under the supervision of Deepak Kumar, with support from NSF Awards 2023505 and 2336929.\nThe report covers three areas of investigation:\nAI-assisted coding tools — experimented with GitHub Copilot and LLM-generated single-use applications, finding that code completion tools are unsuitable for introductory CS courses (they autocomplete full implementations of basic assignments) but potentially useful in software engineering contexts AI tools for education — evaluated Google NotebookLM across six courses, finding it most useful for concept synthesis and citation work in seminar writing, and least useful for mathematical reasoning or deep close reading Student attitudes survey — administered an IRB-approved survey to 228 Bi-Co students, finding a near-even split between users and non-users, with significant differences by school, discipline, and reasoning Timeline and scope Academic year 2025–2026. Research assistantship under Deepak Kumar at Bryn Mawr College.\nSkills and technologies Survey design and IRB protocol, data analysis and visualization, Python, academic research writing, LaTeX\nLink Download PDF\n","permalink":"https://clarafee.com/portfolio/portfolio/ai-in-higher-education-utility-limits-and-student-attitudes/","summary":"\u003ch2 id=\"about\"\u003eAbout\u003c/h2\u003e\n\u003cp\u003eA research report investigating generative AI tool use in undergraduate liberal arts education, focused on Bryn Mawr and Haverford Colleges. Co-authored with Emily Lu, Emma Yu, and Olivia Boyer under the supervision of Deepak Kumar, with support from NSF Awards 2023505 and 2336929.\u003c/p\u003e\n\u003cp\u003eThe report covers three areas of investigation:\u003c/p\u003e\n\u003col\u003e\n\u003cli\u003e\u003cstrong\u003eAI-assisted coding tools\u003c/strong\u003e — experimented with GitHub Copilot and LLM-generated single-use applications, finding that code completion tools are unsuitable for introductory CS courses (they autocomplete full implementations of basic assignments) but potentially useful in software engineering contexts\u003c/li\u003e\n\u003cli\u003e\u003cstrong\u003eAI tools for education\u003c/strong\u003e — evaluated Google NotebookLM across six courses, finding it most useful for concept synthesis and citation work in seminar writing, and least useful for mathematical reasoning or deep close reading\u003c/li\u003e\n\u003cli\u003e\u003cstrong\u003eStudent attitudes survey\u003c/strong\u003e — administered an IRB-approved survey to 228 Bi-Co students, finding a near-even split between users and non-users, with significant differences by school, discipline, and reasoning\u003c/li\u003e\n\u003c/ol\u003e\n\u003ch2 id=\"timeline-and-scope\"\u003eTimeline and scope\u003c/h2\u003e\n\u003cp\u003eAcademic year 2025–2026. Research assistantship under Deepak Kumar at Bryn Mawr College.\u003c/p\u003e","title":"AI in Higher Education: Utility, Limits, and Student Attitudes"},{"content":"Here are two poems. They were both written as submissions for the Bat, my living cooperative\u0026rsquo;s semi-regular zine.\nThe first, Future_Ism, was written for an edition of the zine for which the theme was \u0026ldquo;future\u0026rdquo;. The second, STANDING AND NOT SITTING, was written for a zine themed \u0026ldquo;anger\u0026rdquo;.\nFuture_Ism\nSometimes I feel that I want to build a RADICAL FUTURE. Other times that feels hopeless and I want to preserve this money-life while I still can.\nEveryone is secretly rich. It is illegal to laugh and it is a burden to be here. My complexes have complexes. The pearls of wisdom are littering the floor but I have no basket with which to pick them up. I feel bad but not bad enough.\nI feel good but not good enough. I think about a RADICAL FUTURE. Are you still there, God? It’s me, Margaret. When I was a child my father told me that our family cat went to heaven. Then the next day he said that, actually, nobody knows what happens after anybody dies, including the cat. I was spitting howling mad.\nI am financially non-catastrophic. In fact I am quite financially sustainable. What if I had a trust fund? Would it make me a better person? Will my mother work until she keels over, eighty-six and decrepit, on the job? I want to buy my mom a house. It feels centering, like meditation. I have a binary perception of nothing, hand-to-God-on-my-momma, except for everything about myself and my abilities and my body and my clothing choices. I want to establish a regime. I want to start over from scratch and do it right this time. Nobody can call themselves anything.\nWhen the last terrible evil figure in my life told me he wanted to run away to a cabin in the woods and never speak to anyone ever again I was spitting mad. For me it is hard to sympathize with inability.\nWhat happens if my body gives out? I want a RADICAL FUTURE. I can’t even imagine myself less a couple square inches of flesh. It’s impossible for me to un-tether myself from Google Calendar. I know that it’s possible because other people tell me so.\nMaybe I will run away to a cabin in the woods and never speak to anyone ever again and shave my head. I do not think it would help.\nSTANDING AND NOT SITTING\nOne\nI am at my worst when I am thinking of myself as an angry person, when I am doing anger.\nTwo\nI feel most angry, most potently, when I am confronted with incompetence, empty authority, helplessness, unfairness and (most deeply and potently of all) injustice; I feel it physically and quickly, down the body, lumped together with a shock behind the eyelids and a burning through the esophagus.\nThree\nThere was a line in a poem I wrote a long time ago: \u0026ldquo;For me, it is hard to sympathize with inability.\u0026rdquo; I struggle with anger because the thing towards which I am angry, mostly\u0026mdash; by simple majority\u0026mdash;is myself\u0026mdash; \u0026mdash;my orientation is selfwards, too often. So much\u0026mdash;most?\u0026mdash;of my external anger is externalized anger, and I often regret its expression.\nFour\nNot always, though.\nFive I am not at my worse, but perhaps not at my best either, when I accept and allow the anger. Just how they teach you to do with your thoughts when you meditate\u0026mdash; \u0026mdash;observe the thought, observe how the act of observation changes its shape, and allow its passage through. Just how I have never been able to do with any of my thoughts at all.\nSix I am getting a little bit angry writing this.\nSeven Lucky number seven. So where is all my anger? There seem to be plenty of outlets for it now. More than there ever have been, if some are to be believed. At best, it\u0026rsquo;s low simmering and calm; at best, it\u0026rsquo;s standing and not sitting. At best it\u0026rsquo;s quieting the fear to stone. I think deeply about things; most things, even, though I can\u0026rsquo;t claim they are the right ones. I try to remain a serious person. I try not to let the foot-stomping bitter-teared older sister, childish in her cry, demanding uncritical fairness towards especially her, pull too much weight. I try instead of lay myself, ten toes down, heavy and grateful.\n","permalink":"https://clarafee.com/blog/blog/two-poems/","summary":"\u003cp\u003eHere are two poems. They were both written as submissions for the Bat, my living cooperative\u0026rsquo;s semi-regular zine.\u003c/p\u003e\n\u003cp\u003eThe first, \u003cem\u003eFuture_Ism\u003c/em\u003e, was written for an edition of the zine for which the theme was \u0026ldquo;future\u0026rdquo;. The second, \u003cem\u003eSTANDING AND NOT SITTING\u003c/em\u003e, was written for a zine themed \u0026ldquo;anger\u0026rdquo;.\u003c/p\u003e\n\u003chr\u003e\n\u003cp\u003eFuture_Ism\u003c/p\u003e\n\u003cp\u003eSometimes I feel that I want to build a RADICAL FUTURE. Other times that feels hopeless and I want to preserve this money-life while I still can.\u003c/p\u003e","title":"two poems"},{"content":"About A senior seminar research paper in Spanish arguing that Lucrecia Martel\u0026rsquo;s \u0026ldquo;Salta trilogy\u0026rdquo; — La ciénaga (2001), La niña santa (2004), and La mujer sin cabeza (2008) — expands auteur theory through sonic and haptic authority rather than visual control. Drawing on Jennifer Slobodian\u0026rsquo;s application of Laura Mulvey\u0026rsquo;s gaze theory, Dominic Russel\u0026rsquo;s analysis of Martel\u0026rsquo;s audio, and Deborah Martin\u0026rsquo;s political readings of the films, I argue that Martel\u0026rsquo;s consistent displacement of violence into the auditory space — what she hears rather than what she shows — constitutes a distinctly feminist intervention in a tradition that has historically privileged intellectual mastery and visual style.\nReceived the Hester-Ann Corner Prize for Literatures in Spanish at Bryn Mawr College.\nTimeline and scope Fall 2025. Final paper for Spanish Senior Seminar, Bryn Mawr College.\nSkills and technologies Close film analysis, archival research, academic writing in Spanish, feminist film theory\nLink Download PDF\n","permalink":"https://clarafee.com/portfolio/portfolio/el-sonido-y-la-autor%C3%ADa-en-la-trilog%C3%ADa-salta-de-lucrecia-martel/","summary":"\u003ch2 id=\"about\"\u003eAbout\u003c/h2\u003e\n\u003cp\u003eA senior seminar research paper in Spanish arguing that Lucrecia Martel\u0026rsquo;s \u0026ldquo;Salta trilogy\u0026rdquo; — \u003cem\u003eLa ciénaga\u003c/em\u003e (2001), \u003cem\u003eLa niña santa\u003c/em\u003e (2004), and \u003cem\u003eLa mujer sin cabeza\u003c/em\u003e (2008) — expands auteur theory through sonic and haptic authority rather than visual control. Drawing on Jennifer Slobodian\u0026rsquo;s application of Laura Mulvey\u0026rsquo;s gaze theory, Dominic Russel\u0026rsquo;s analysis of Martel\u0026rsquo;s audio, and Deborah Martin\u0026rsquo;s political readings of the films, I argue that Martel\u0026rsquo;s consistent displacement of violence into the auditory space — what she hears rather than what she shows — constitutes a distinctly feminist intervention in a tradition that has historically privileged intellectual mastery and visual style.\u003c/p\u003e","title":"El sonido y la autoría en la «trilogía Salta» de Lucrecia Martel"},{"content":"About A digital humanities web project preserving colonial-era texts in Zapotec, an Indigenous Mexican language. As a Digital Humanities \u0026amp; Web Design Intern at Haverford College Digital Scholarship, I developed a new WordPress website for the Ticha Project to improve user experience and content management. I collaborated with history scholars, linguists, Indigenous community members, and digital humanities librarians throughout the design process, applying accessibility standards and UX principles at each stage.\nTimeline and scope June – December 2025. Internship with Haverford College Digital Scholarship, supervised by Anna Lacy.\nSkills and technologies WordPress, CSS, accessibility standards, UX design, digital humanities, cross-disciplinary collaboration\nLink ticha.haverford.edu\n","permalink":"https://clarafee.com/portfolio/portfolio/ticha-project-digital-archive-blog/","summary":"\u003ch2 id=\"about\"\u003eAbout\u003c/h2\u003e\n\u003cp\u003eA digital humanities web project preserving colonial-era texts in Zapotec, an Indigenous Mexican language. As a Digital Humanities \u0026amp; Web Design Intern at Haverford College Digital Scholarship, I developed a new WordPress website for the Ticha Project to improve user experience and content management. I collaborated with history scholars, linguists, Indigenous community members, and digital humanities librarians throughout the design process, applying accessibility standards and UX principles at each stage.\u003c/p\u003e","title":"Ticha Project Digital Archive \u0026 Blog"},{"content":"About Chromagotchi is a Chrome extension that gamifies mindful browsing. It gives you a customizable Tamagotchi-style virtual pet whose health rises when you spend time on tabs you\u0026rsquo;ve marked as important, and falls when you open distracting ones. Built collaboratively with three teammates for CIS 3500 Software Engineering at the University of Pennsylvania.\nTimeline and scope Spring 2024. Designed, built, and shipped as a full group project over one semester, including a public landing page with dev blog posts and a demo video.\nSkills and technologies React, JavaScript, Chrome Extensions API (background scripts, manifest v3), HTML/CSS, npm\nLinks GitHub Landing page \u0026amp; demo Demo video ","permalink":"https://clarafee.com/portfolio/portfolio/chromagotchi/","summary":"\u003ch2 id=\"about\"\u003eAbout\u003c/h2\u003e\n\u003cp\u003eChromagotchi is a Chrome extension that gamifies mindful browsing. It gives you a customizable Tamagotchi-style virtual pet whose health rises when you spend time on tabs you\u0026rsquo;ve marked as important, and falls when you open distracting ones. Built collaboratively with three teammates for CIS 3500 Software Engineering at the University of Pennsylvania.\u003c/p\u003e\n\u003ch2 id=\"timeline-and-scope\"\u003eTimeline and scope\u003c/h2\u003e\n\u003cp\u003eSpring 2024. Designed, built, and shipped as a full group project over one semester, including a public landing page with dev blog posts and a demo video.\u003c/p\u003e","title":"Chromagotchi"},{"content":"About As Station Manager of WHRC Radio Club at Bryn Mawr and Haverford Colleges, I designed and built the station\u0026rsquo;s public-facing website from the ground up — my first web design project. I worked with the club founders to implement a user-friendly interface aimed at building listenership and encouraging new members to join. Over four years, I maintained and updated the site, including coverage of events like WHRC\u0026rsquo;s 100th anniversary.\nBeyond the website, I led station operations: equipment management, scheduling systems, broadcast tools, training documentation for new DJs, and coordinating with campus music organizations for on-air programming.\nTimeline and scope Spring 2022 – May 2026. Ongoing maintenance and operations throughout my time at Bryn Mawr College.\nSkills and technologies WordPress, CSS, radio broadcast operations, training documentation, scheduling systems\nLink whrc-radio.com\n","permalink":"https://clarafee.com/portfolio/portfolio/whrc-radio-website/","summary":"\u003ch2 id=\"about\"\u003eAbout\u003c/h2\u003e\n\u003cp\u003eAs Station Manager of WHRC Radio Club at Bryn Mawr and Haverford Colleges, I designed and built the station\u0026rsquo;s public-facing website from the ground up — my first web design project. I worked with the club founders to implement a user-friendly interface aimed at building listenership and encouraging new members to join. Over four years, I maintained and updated the site, including coverage of events like WHRC\u0026rsquo;s 100th anniversary.\u003c/p\u003e","title":"WHRC Radio Website"},{"content":"About A command-line image processing tool built in Java using a quadtree data structure. Supports compression at configurable thresholds, edge detection, quadtree outline visualization, color inversion, and shading. My first substantial solo programming project, built freshman year.\nTimeline and scope Fall 2022. Solo project for an introductory CS course at Bryn Mawr College.\nSkills and technologies Java, quadtree data structures, PPM image format parsing, recursive algorithms\nLink GitHub\n","permalink":"https://clarafee.com/portfolio/portfolio/quadtree-image-processing/","summary":"\u003ch2 id=\"about\"\u003eAbout\u003c/h2\u003e\n\u003cp\u003eA command-line image processing tool built in Java using a quadtree data structure. Supports compression at configurable thresholds, edge detection, quadtree outline visualization, color inversion, and shading. My first substantial solo programming project, built freshman year.\u003c/p\u003e\n\u003ch2 id=\"timeline-and-scope\"\u003eTimeline and scope\u003c/h2\u003e\n\u003cp\u003eFall 2022. Solo project for an introductory CS course at Bryn Mawr College.\u003c/p\u003e\n\u003ch2 id=\"skills-and-technologies\"\u003eSkills and technologies\u003c/h2\u003e\n\u003cp\u003eJava, quadtree data structures, PPM image format parsing, recursive algorithms\u003c/p\u003e\n\u003ch2 id=\"link\"\u003eLink\u003c/h2\u003e\n\u003cp\u003e\u003ca href=\"https://github.com/claraxfee/quadtree-imageprocessing\"\u003eGitHub\u003c/a\u003e\u003c/p\u003e","title":"Quadtree Image Processing"},{"content":"Hi there! I\u0026rsquo;m Clara Fee. Thanks for being here.\nI\u0026rsquo;m a recent Computer Science and Spanish graduate from Bryn Mawr College (\u0026lsquo;26) with a minor in Film Studies. I live in Philadelphia.\npersonally: I care about technology and social impact, user experience, social computing, and good design. My work spans web development, digital humanities, nonprofit logistics and fundraising, and community organizing. I believe technology should serve the people; I\u0026rsquo;m particularly interested in how we can use tech to improve digital literacy and better our collective experiences online.\nyou can also find me: In my kitchen making pickles and pie Watching movies, always (see my letterboxd here) Roller skating \u0026amp; roller blading Writing about technology, internet culture, film, and cooking: blog get in touch: Email: claraxfee [at] gmail [dot] com\nLinkedIn: linkedin.com/in/claraxfee\nGitHub: github.com/claraxfee\nSubstack: clarafee.substack.com\n","permalink":"https://clarafee.com/about/","summary":"About Clara Fee","title":"About"},{"content":" Clara Fee i translate between people and technology\nContact Me | View Resume\ni am looking for: customer-facing technical roles: technical support engineering, solutions engineering, implementation, customer success based in Philadelphia, open to NYC or fully remote civic tech, edtech, and mission-driven orgs are a big plus available immediately! what\u0026rsquo;s not on my resume: i love hard tickets!\nThree and a half years at a college help desk means i\u0026rsquo;ve been called in for projector issues ten minutes before lecture starts and troubleshooted dead laptops in the middle of finals. I stay calm, ask the right questions, and never make anyone feel dumb for lack of knowledge\ni kept a college radio station running with all-volunteer staff.\nWHRC is entirely student run. This means our DJs usually come in with zero broadcast experience and high turnover. The only way this works is documentation and training that people actually use! I wrote it, tested it on our newbies, and rewrote it when it stopped working. This is exactly how good support teams run on their knowledge base.\ni\u0026rsquo;ve done requirements-gathering the hard way.\nOn the Ticha Project, my \u0026lsquo;users\u0026rsquo; were historians, linguists, librarians, and Zapotec community members. In other words, people with strong opinions about the work and no interest in WordPress internals or using GitHub. My job was to hear what they needed, translate it into something workable, and check back that I\u0026rsquo;d gotten it right. I learned to manage diverse stakeholders on a project where getting it wrong would have meant failing a community, not just a sprint.\ni write, a lot\nMy writing is public: substack\nand in spanish, too.\nI\u0026rsquo;m a Spanish literatures major, which means that beyond \u0026ldquo;conversational\u0026rdquo; I can troubleshoot, explain, and de-escalate in two languages.\nsome examples of my work: WebApps \u0026amp; Technical Projects See portfolio for details. Projects include a full-stack college calendar site, a cute Tamagotchi chrome extension to maximize productivity, and more.\nTicha Project Web Design Digital humanities platform preserving Indigenous Zapotec texts. Built search interfaces and contributed to linguistic annotation tools for a digital archive of colonial-era texts. Sponsored research by Haverford College Digital Scholarship under Anna Lacy. Summer 2025.\nWHRC Radio Infrastructure Rebuilt the digital infrastructure for Bryn Mawr\u0026rsquo;s community radio station: training documentation, scheduling systems, and broadcast tools. See this portfolio post for more.\nmy resume at a glance IT Help Desk Student Manager (Tech Lead), Bryn Mawr College — 3.5 years, 300+ tickets/semester CS Teaching Assistant, Bryn Mawr \u0026amp; UPenn — intro programming through data structures Digital Humanities \u0026amp; Web Design Intern, the Ticha Project @ Haverford Research: automated unit test generation (Bryn Mawr, under Elizabeth Dinella); AI use in higher ed (under Deepak Kumar); ML pipelines (NSF REU @ Brown) Station Manager, WHRC Radio; Budget Manager, Batten House Sustainability Co-Op B.A. Computer Science \u0026amp; Spanish Literature, Film Studies minor — Bryn Mawr College, Class of 2026, 3.82 GPA full details in the resume PDF.\nget in touch! Email: claraxfee@gmail.com LinkedIn: linkedin.com/in/claraxfee GitHub: github.com/claraxfee Substack: clarafee.substack.com\n","permalink":"https://clarafee.com/hireme/","summary":"Hire Clara Fee","title":"Hire Me"}]