Sickinger, Edda2020-07-082020-07-082020-07The lecture-demonstration URBAN TOUCH understands the prolific practices of screening dance as a way of touching. “Touching” holds a double character as (1) getting into contact and (2) affecting or being affected. To touch, we have to move and the action of projecting helps the dance work move and relate in time and space.[1] While any surface can potentially transform into a screen,[2] the moment of screening creates an ephemeral social entanglement of movement, memory, relation, and affect.https://hdl.handle.net/10539/29207The lecture-demonstration URBAN TOUCH understands the prolific practices of screening dance as a way of touching. “Touching” holds a double character as (1) getting into contact and (2) affecting or being affected. To touch, we have to move and the action of projecting helps the dance work move and relate in time and space.[1] While any surface can potentially transform into a screen,[2] the moment of screening creates an ephemeral social entanglement of movement, memory, relation, and affect.The lecture-demonstration URBAN TOUCH understands the prolific practices of screening dance as a way of touching. “Touching” holds a double character as (1) getting into contact and (2) affecting or being affected. To touch, we have to move and the action of projecting helps the dance work move and relate in time and space.[1] While any surface can potentially transform into a screen,[2] the moment of screening creates an ephemeral social entanglement of movement, memory, relation, and affect.enLicensed under a Creative Commons Attribution 4.0 International (CC BY 4.0) licence. Copyright of texts: the authors, performers, and panellists Copyright of images: the authors, artists, performers, and panellistsartistic research, arts research, decolonisation, arts pedagogy,Article