A full and annotated collection of the correspondence between two extraordinary scientific individuals, James Lovelock and Lynn Margulis.

In 1972, James Lovelock and Lynn Margulis began collaborating on the Gaia hypothesis. They suggested that over geological time, life on Earth has had a major role in both producing and regulating its own environment. Gaia is now an ecological and environmental worldview underpinning vital scientific and cultural debates over environmental issues. Their ideas have transformed the Earth and life sciences, as well as contemporary conceptions of nature. Their correspondence describes these crucial developments from the inside, showing how their partnership proved decisive for the development of the Gaia hypothesis. Clarke and Dutreuil provide historical background and explain the concepts and references introduced throughout the Lovelock-Margulis correspondence, while highlighting the major landmarks of their collaboration within the sequence of almost 300 letters written between 1970 and 2007. This book will be of interest to researchers in ecology, history of science, environmental history and climate change, and cultural science studies.

Essays, conversations, selected texts, and a rich collection of thought-provoking artworks celebrate a revolution in bio art. Expertly designed by Omnivore and printed on special papers, including chlorophyll cover and crush citrus and crush cocoa pages. The texts and artworks in Symbionts provoke a necessary conversation about our species and its relation to the planet. Are we merely “mammalian weeds,” as evolutionary biologist Lynn Margulis put it? Or are we partners in producing and maintaining the biosphere, as she also suggested? Symbionts reflects on a recent revolution in bio art that departs from the late-1990s code-oriented experiments to embrace entanglement and symbiosis (“with-living”). Combining documentation of contemporary artworks with texts by leading thinkers, Symbionts, which accompanies an exhibition at MIT List Visual Arts Center, offers an expansive view of humanity’s place on the planet. Color reproductions document works by international artists that respond to the revelation that planetary microbes construct and maintain our biosphere. A central essay by coeditor Caroline Jones sets their work in the context of larger discussions around symbiosis; additional essays, an edited roundtable discussion, and selected excerpts follow. Contributors explore, among other things, the resilient ecological knowledge of indigenous scholars and artists, and “biofiction,” a term coined by Jones to describe the work of such theoretical biologists as Jacob von Uexküll as well as the witty parafictions of artist Anicka Yi. A playful glossary puts scientific terms in conversation with cultural ones.

“The book is full of empathetic, insightful, and often very funny portraits of Margulis, Lovelock, and a community of other figures associated with Gaia.” —Carla Nappi, New Books in Science, Technology, and Society In 1965 English scientist James Lovelock had a flash of insight: the Earth is not just teeming with life; the Earth, in some sense, is life. He mulled this revolutionary idea over for several years, first with his close friend the novelist William Golding, and then in an extensive collaboration with the American scientist Lynn Margulis. In the early 1970s, he finally went public with the Gaia hypothesis, the idea that everything happens for an end: the good of planet Earth. Lovelock and Margulis were scorned by professional scientists, but the general public enthusiastically embraced Lovelock and his hypothesis. In The Gaia Hypothesis, philosopher Michael Ruse, with his characteristic clarity and wit, uses Gaia and its history, its supporters and detractors, to illuminate the nature of science itself. Gaia emerged in the 1960s, a decade when authority was questioned and status and dignity stood for nothing, but its story is much older. Ruse traces Gaia’s connection to Plato and a long history of goal-directed and holistic—or organicist—thinking and explains why Lovelock and Margulis’s peers rejected it as pseudoscience. But Ruse also shows why the project was a success. He argues that Lovelock and Margulis should be commended for giving philosophy firm scientific basis and for provoking important scientific discussion about the world as a whole, its homeostasis or—in this age of global environmental uncertainty—its lack thereof. “[Ruse’s] treatment is thought-provoking and original, as you would expect from this perceptive, irrepressible philosopher of biology.” —New Scientist

Gaia, in which James Lovelock puts forward his inspirational and controversial idea that the Earth functions as a single organism, with life influencing planetary processes to form a self-regulating system aiding its own survival, is now a classic work that continues to provoke heated scientific debate.

The implications of the Gaia hypothesis are multitudinous. Three stand out as particularly important. First, nature can no longer be seen as a random assortment of different forms of life. Second, living organisms, instead of being competitive and aggressive, must on the contrary cooperate with each other and third, Gaia is best seen as a cybernetic system capable of maintaining its stability

Tireless, controversial, and hugely inspirational to those who knew her or encountered her work, Lynn Margulis was a scientist whose intellectual energy and interests knew no bounds. Best known for her work on the origins of eukaryotic cells, the Gaia hypothesis, and symbiogenesis as a driving force in evolution, her work has forever changed the way we understand life on Earth. When Margulis passed away in 2011, she left behind a groundbreaking scientific legacy that spanned decades. In this collection, Dorion Sagan, Margulis's son and longtime collaborator, gathers together the voices of friends and colleagues to remark on her life and legacy, in essays that cover her early collaboration with James Lovelock, her fearless face-off with Richard Dawkins during the so-called "Battle of Balliol" at Oxford, the intrepid application of her scientific mind to the insistence that 9/11 was a false-flag operation, her affinity for Emily Dickinson, and more. Margulis was elected to the National Academy of Sciences in 1983, received the prestigious National Medal of Science in 1999, and her papers are permanently archived at the Library of Congress. Less than a month before her untimely death, Margulis was named one of the twenty most influential scientists alive - one of only two women on this list, which include such scientists as Stephen Hawking, James Watson, and Jane Goodall.