c o n c e p t | THE HANDS CAN TELL A LOT¶

c o n c e p t . d e v e l o p m e n t¶

The concept begins with a long-standing personal curiosity: the body as more than a biological entity. I see it as an object, a space, a host, a medium, and an interface—constantly transforming and interacting with the world. This project grows from a desire to explore the body from these multiple perspectives. What happens when the body extends beyond itself, when its movements become signals, when its skin speaks? This curiosity has followed me through different disciplines, and the Fabricademy provided the tools to translate that philosophical inquiry into material and interactive form.

Initially, I came up with the idea of naming my project Wearable Spaces, envisioning it as an interactive scenography concept where the environment could be controlled through body movements. The idea explored the intersection of space, body, and technology—transforming wearable elements into dynamic tools that respond to gestures, allowing users to shape and influence their surroundings in real time.

The project’s first seeds were planted during Fabricademy’s Wearables week, through a piece called Magic Glove. I created an origami bird, inserted a servo motor, and connected the glove’s sensor to bring it to life. With each movement of the hand, the bird responded—fluttering gently, as if breathing with me.

This experience revealed the deep potential in merging the tactile, emotional language of the body with kinetic design. I expanded the glove to include five flex sensors, turning each finger into an input channel. This opened the possibility of controlling not just a single object but a whole scene—introducing the concept of interactive scenography. The outputs became soft, skin-like bioplastic origamis: fragile, moving structures that react to the gestures of the hand. It felt like crafting a second skin—a sculptural extension that mirrors the folds and rhythms of our own.

At the heart of it all is a memory: the feeling of playing with my grandmother’s hands as a child. I used to trace the folds, veins, and wrinkles of her skin like rivers across a map.

Our skin is a living, shifting surface—constantly folding, unfolding, and adapting. That living origami became my metaphor. With this glove,

I wanted to recreate the experience of guiding movement through movement, of shaping space with skin. The project lives between technology and memory, between science and tenderness—inviting us to see the body not just as a controller, but as a storyteller, sculptor, and interface all at once.

w h a t¶

THE HANDS CAN TELL A LOT integrates a unique fusion of interactive scenography and wearable technology to explore memory, transformation, and the embodiment of emotions through movement. The project’s main technical concept involves the use of a glove, which acts as a controller, and bioplastic material that responds dynamically to the movements of the hand. The glove detects subtle hand movements, translating them into actions that trigger the bioplastic's response—whether through folding, unfolding, or expanding. This bioplastic structure is shaped like delicate origami folds, which are actuated by motors, mimicking the responsive, ever-changing nature of skin.

The choice of origami as a design technique draws a direct connection to the natural structure of the skin, with its folds, creases, and flexibility. Just as skin changes and adapts over time, the origami-inspired folds of the bioplastic dynamically expand, contract, and shift with the motion of the hand. This responsiveness is powered by motors, mimicking the skin’s adaptability and the subtle transformations it undergoes with age.

Through this immersive interaction, THE HANDS CAN TELL A LOT connects the physical body to an ever-changing material form, highlighting the beauty of impermanence and the intimate relationship between movement, time, and the materials we touch.

w h y¶

The primary intention behind THE HANDS CAN TELL A LOT is to explore how technology can be integrated into artistic practices to amplify interaction and meaning. During my studies at Fab Academy, I became acutely aware of the lack of interactivity in exhibitions and festivals, especially in Armenia. While many artists and exhibitions were utilizing technology, the majority of it was static and did not engage the viewer in a dynamic, responsive way. This realization sparked the idea to create something more engaging—something that could open up new possibilities for artists and audiences alike.

The project challenges the conventional relationship between technology and art, where technology is often seen as a tool, but rarely as a dynamic partner in creating live, participatory art. By making movement and touch the input for interaction, the work invites an ongoing dialogue between the artist and the environment. Through this interaction, the participant becomes both the creator and the observer, making each performance unique and deeply personal.

Another layer of the concept is to challenge conventional notions of aging and memory. Rather than viewing aging or the passage of time as something negative, this project embraces it as an essential part of life’s narrative. It redefines self-expression, showing how the body’s physical changes can tell stories. The project asks how we can use movement, technology, and materials to express emotional states, linking the physical and emotional through the process of change.

w h e r e¶

The project is developed in various settings, each tailored to explore different facets of the experience. Initially, the technical components such as the wearable glove, bioplastic, and actuators are refined and tested in a lab environment. This phase focuses on integrating the technologies and ensuring they work seamlessly together.

Once the technical setup is functional, the project is showcased in gallery settings and public exhibitions, such as festivals or interactive art installations. Visitors are invited to wear the glove, experience the transformation of the bioplastic material, and interact with the piece in real-time. The exhibition environment enhances the work’s intimacy, where participants’ gestures shape the surrounding artwork.

This piece is also adaptable for live performances and installations where emotional expression and physical movement are central. There is great potential for cross-disciplinary collaboration—dancers, performers, or musicians can use the glove and bioplastic system within their own creative processes, further expanding the project’s application.

w h e n¶

The project began as part of my final work in Fabricademy, with a timeline that spans several months. The development process involved research, prototyping, and testing, allowing for the integration of wearable electronics and bioplastic materials. Because of its flexible and evolving nature, the project continues to grow beyond its original framework, welcoming future experimentation and collaboration.

f o r | w i t h . w h o¶

THE HANDS CAN TELL A LOT begins with a deeply personal connection—my grandmother, who has played an essential role in my life. I plan to visit her in Yerevan and scan her hands as part of the project, using the scans to create intricate details for the glove. This gesture not only honors her physical presence but also symbolizes the wisdom and memories she has passed on to me over the years. Her hands, weathered with time, will be immortalized in the glove’s design, making her a central figure in the work.

While scanning her hands, I will also take the time to talk to her—sharing the project’s purpose and listening to her stories. These conversations, rooted in our tactile and emotional connection, form the narrative foundation of the project, focusing on memory, transformation, and the emotions embedded in our gestures.

Beyond this intimate beginning, THE HANDS CAN TELL A LOT is created for a broader audience: contemporary artists, performers, and technologists interested in merging wearable technology with interactive art. It offers artists a new space to explore their practices—experimenting with how movement, emotion, and memory can be made tangible through digital fabrication and responsive materials.

s c h e d u l e . a n d . p l a n n i n g¶

Week	Deadline	Goal	Tasks
WEEK 1	Feb 3–9	Concept Refinement & Reference Selection	- Narrow down 5 key references - Define your project’s unique angle and mission - Contact potential collaborators (performer, photographer, technician)
WEEK 2	Feb 10–16	Quick Prototyping & Storyboarding	- Make a “quick and dirty” prototype (glove + bioplastic) - Sketch storyboard for scenography - Start visual research
WEEK 3	Feb 17–23	Feedback Loop & Material List	- Test glove interaction with users - Gather feedback - Finalize Bill of Materials - Order parts (motors, sensors, gloves, bioplastic ingredients)
WEEK 4	Feb 24	🟢 MIDTERM Presentation	- Present concept, references, early prototype & storyboard - Share mission: “Using movement and material to trace memory through the body”
WEEK 5	Feb 25 – Mar 2	First Iteration Build	- Assemble glove + 1 motor + bioplastic element - Program motor responses - Begin documentation (video, photos, sketches)
WEEK 6	Mar 3–9	Full Interaction Build	- Test glove with full structure - Add folding/moving elements - Calibrate timing - Document experiments
WEEK 7	Mar 10–16	Material Behavior Testing	- Observe bioplastic over time (movement, humidity) - Replace weak parts - Finalize scenography and lighting - Start video planning
WEEK 8	Mar 17–20	Final Fabrication & Assembly	- Assemble final structure - Full technical testing - Final photoshoot + video shoot
FINAL WEEK	Mar 24–27	🌟 FINAL PRESENTATION	- Present final installation - Upload video & booklet - Submit fabrication files - Celebrate 🎉