This multidimensional project was catalyzed by the death of Margit’s mother, Wynne Galanter, in 2003, and enriched itself through a variety of crossings in the two years that followed. The Whole Whole explores and defines “permeability” as a specific and delicate interconnection of lived experience and the environment. An instance of first-person research, Margit centered the inquiries obliquely and imaginally around the figure of the octopus as a primal originator, possessing glorious permeability of mythic proportions.

The project included a series of movement studies performed nationally; an evening-length performance in collaboration with Jessika Kenney called Octocthonous, presented in 2005 at Chez Bushwick, NY and SOIL Gallery, Seattle; a visual poetry chapbook with DVD; and a Master’s Thesis for study at Gallatin, NYU, entitled “PRACTICE MAKES PERMEABLE: Movement as a Basis for Research.”

This was a long-term investigation that set processes in motion. Motive force was collaborative crossings. Some of the many included: working with Josiah Hincks, Jessika Kenney, Flavia Cymbalista, Jack Mackeral, Miguel Guttierez, advisor Ann Axtmann; The Feldenkrias Method, qigong, Lisa Nelson’s tuning scores, Thinking at the Edge, NYU Grad School at Gallatin; interviews and talks with Lisa Nelson, Dennis Leri, Eugene Gendlin, K.J. Holmes, Daria Fain, Robert Kocik, Sheri Cohen, Marissa Perel, Karen Nelson, Danny Lepkoff, Francesca Castaldi, Song Nelson, and John Dixon; reading Gregory Bateson, Maxine Sheets-Johnstone, Francisco Varela, Deleuze & Guattari, James Gibson, Lawrence Halprin, Arnie Mindell, Merleau-Ponty, Deborah Hay, Mark Johnson, Kuriyama Shigehisa, Steve Paxton, Henri Poincare, and members of my family in the invisible and visible realms.

The Whole Whole