How technical trainings in dance create especific domains of problems, and how do they relate with creative and, more specifically, learning activities? We describe and analyse technical training in dance as cognitive artifacts collections, concept recently systematized by Andy Clark. Cognitive artifacts are non-biological artifacts that, when ‘coupled’ to the body-minds of their users, change, amplify or intensify innate cognitive habilities. They create certain problem domains and, at the same time, they work as short-cuts for the solutions of problems. The cognitive artifact concept allows, among other things, to explain ‘why’ and ‘how’ techniques, or artifacts, create conceivable and very especific and estructured problem domains, as well as some ways to approach and solve these problems. The main purpose of our analysis is to understand how technical training in dance create restricted domains of conceivable problems, besides specific proposals for solutions, phenomenon described as causal looping. We identify some kinds of relationships that can develop between artifacts in each training, and between artifacts and specific problems when they are ‘coupled’ to the dancers. We selected two technical trainings: classical ballet and Klauss Vianna techniques, examples of what Sylvia Faure has called, respectively, training based on a logic of 'discipline' and a logic of ‘singularity’. These two examples are often called ‘neutral’ or ‘base’ trainings. Based on our analysis, we discuss the ideas of ‘neutral’ and ‘base’ training. In accordance with the approach suggested and developed here we conclude that the concepts of ‘neutral’ and ‘base’ training are not sustainable. Finally, we explore some consequences of the application of the concept of artifact in different areas of research in dance.
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