Art and literature harness a transformative power that shapes perceptions, provokes emotions, and ignites revolutions by standing as catalysts for change. By challenging norms such as the land being the center of human discovery, art and literature shift thoughts and cultural stigmas by offering glimpses of human experiences through visual and vicarious depths to explore alternate possibilities of what we deem to be reality. John Gillis, in “The Blue Humanities”, an article that explores the conceptual emergence of the sea in human lives and sciences, argues that art and literature have inspired the birth of oceanic curiosity and culture in post-eighteenth-century Western society. Through literature and art, oceanic creativity has inspired exploration of sea-oriented thought which has created a shift in the cultural dynamics and attitudes towards the ocean.  

Although discovery surrounding the ocean is limited, art and literature have constructed a reality of the undersea world that has not been explored. The cultural shift from land to sea has influenced various avenues to explore further oceanic curiosities. John Gillis reveals that Archaeology, Anthropology, Maritime history, and environmental history are beginning to focus on the history of the ocean and how it is indistinguishable from historical phenomena on land. To be specific, bodies of water began merging into sciences when scholars examined how life on land and other factors such as the weather is impacted by the sea (par. 3). Considering the ocean in account of various scientific histories, has led to productive discoveries such as “the damage that invasive species of plants and animals could do on small islands…” (par. 3). The scientific shift in focus from land to sea was pioneered through literature and art, and will continue to open the doors to further discoveries. 

Sea stories and art are not new to literature; however, Gillis points out a shift in attitude following the eighteenth century, within artists depicting the sea as a utilitarian source of life to “a space within to imagine modernity” (par. 4). To be more specific, Gillis provides examples from the works of Robinson Crusoe, Moby-Dick, and Jules Verne, who have created modern novels that reached new heights of “metaphysical sophistcation” oriented around the sea (par. 4). Through what is now known as ecoliterature, various scientific angles have been discovered from classic writers such as John Steinbeck. 

Prior to the ocean being a popular topic, early modern science did not explore the depths of the ocean. In fact, as Gillis points out, “The Deep– was thought to be an unfathomable abyss… a dark dead zone… never revealing its secrets” (par. 6). Following the second discovery of the sea, the ocean became entangled with history and geography. The ocean was revealed to have a life of its own. Unexpectedly, when the use of the ocean by different nations was minimized, writers and painters gained a vast interest in creatively exploring the endless depths of the sea. This “spiritual and physical recreation” of the sea created a romanticized oceanic aesthetic amongst Western culture (par. 7). For example, Gillis provides Thomas Cole’s four-part painting The Voyage of Life as an example of how art has influenced and shaped cultural thought around the sea. Gillis expands on this by highlighting that the ocean is a metaphor for hope that people like to use. Cole’s painting inspired people to look at life beyond the limitations of the land. Furthermore, Gillis notes how the Industrial Revolution inspired different aquatic activities to take form– how the water is now being used in ways it never was before. This is significant because it demonstrates how water was once feared and is now used as a means of entertainment. 

Oceanic attitudes have shifted in Western culture following the eighteenth century, and Gillis points out the fascination and excitement centered around the sea by illustrating how people who have no physical touch or access to the sea embrace this oceanic-hype by dressing their children in sailor suits or incorporating sea-oriented details, such as aquariums or wall talismans, in their homes (par. 10). Moreover, the ocean has inspired a shift of fear from the supernatural to the sea considering its endless depths that have not been explored or discovered. Gillis emphasizes that the endless limits of the sea introduce boundless limits of creation, such as supernatural creatures. These endless boundaries in the sea inspire unlimited creations of literature and art. This allows artists and writers to not only explore endless possibilities when it comes to creativity but also allows them to consider the sea as a malleable creative entity to take any form necessary for thought. This became prevalent during the industrialization when sea was projected and intertwined into the lives of people as a result of events occurring during that period. As Gillis notes “the sea became a mirror that landlubbers used to reflect their own condition”; this concept highlights that attitudes towards the ocean not only shifted, but they became a metaphorical escape for struggles during those times. 

Rising interests in the oceans and seas are intertwined within the lives of people who have and have not experienced the endless boundaries of the seas. The vast creative exploration of the ocean has ignited a shift in Western cultural thoughts and discovery. Through the use of art and literature, writers and artists have made it possible to not only impact change, but also lead to discoveries in various scientific avenues. This goes to show the immense impact that literature has on the environment.