‘A true feeling of authentic portuguese golf'? The discursive construction of the Algarve region in portuguese golf websites

In an increasingly competitive global marketplace, the need for golf destinations to differentiate themselves from competitors has become more critical than ever. This paper raises questions about the promotional strategies employed by the golf sector in the Algarve, focusing on internet communication strategies, since this medium has become the biggest driving force towards the commoditisation of all aspects of the tourism experience. By offering a complementary perspective to the field of (critical) tourism studies, and drawing on a qualitative, multi-modal discourse analysis, this work-in-progress looks at the particular ways that representations and images presented on the Algarve golf websites constitute and frame identities (of people and places) and socio-spatial relationships. This paper analyses a corpus of 45 texts collected from official websites of the 40 Algarve golf courses and from five entities which promote the Algarve as a golf destination, along with the golf images that are displayed alongside them. Findings point to salient discursive and visual representations of a global setting enjoyed by the global elite. Whereas the courses‟ positioning in relation to their regional competitors draws on similar discursive strategies which reflect those used in tourism advertising discourses in general – e.g. reiteration of explicit comparisons, superlatives and hyperbolic statements -, representations of local emplacedness are not salient; in some cases local place seems to have been almost intentionally suppressed.

Local object gist: meaningful shapes and spatial layout at a very early stage of visual processing

In his introduction, Pinna (2010) quoted one of Wertheimer’s observations: “I stand at the window and see a house, trees, sky. Theoretically I might say there were 327 brightnesses and nuances of color. Do I have ‘327’? No. I have sky, house, and trees.” This seems quite remarkable, for Max Wertheimer, together with Kurt Koffka and Wolfgang Koehler, was a pioneer of Gestalt Theory: perceptual organisation was tackled considering grouping rules of line and edge elements in relation to figure-ground segregation, i.e., a meaningful object (the figure) as perceived against a complex background (the ground). At the lowest level – line and edge elements – Wertheimer (1923) himself formulated grouping principles on the basis of proximity, good continuation, convexity, symmetry and, often forgotten, past experience of the observer. Rubin (1921) formulated rules for figure-ground segregation using surroundedness, size and orientation, but also convexity and symmetry. Almost a century of research into Gestalt later, Pinna and Reeves (2006) introduced the notion of figurality, meant to represent the integrated set of properties of visual objects, from the principles of grouping and figure-ground to the colour and volume of objects with shading. Pinna, in 2010, went one important step further and studied perceptual meaning, i.e., the interpretation of complex figures on the basis of past experience of the observer. Re-establishing a link to Wertheimer’s rule about past experience, he formulated five propositions, three definitions and seven properties on the basis of observations made on graphically manipulated patterns. For example, he introduced the illusion of meaning by comics-like elements suggesting wind, therefore inducing a learned interpretation. His last figure shows a regular array of squares but with irregular positions on the right side. This pile of (ir)regular squares can be interpreted as the result of an earthquake which destroyed part of an apartment block. This is much more intuitive, direct and economic than describing the complexity of the array of squares.