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The face identification problem is the task of identifying incoming users from their face images. The applications of this task include automating user identification at the building entrance. Consequently, many proposed algorithms are proposed for the given task ranging from handcraft computational models to deep learning models. This paper utilizes the existing effective algorithms and proposes the template selection strategy to enhance its recognition performance when the enrollment of multiple samples for each user is proposed. Besides, the paper investigates the effect of image quality on the recognition performance of the system and the efficacy of the proposed template selection strategy when applied in such a situation. Experiments are performed on the in-house dataset collected from the Thai population -- to evaluate the empirical system performance when the system is deployed in Thailand to automatically identify the user at the building gate -- as well as on the LFW public dataset consisting of 13,000 face images of 5,749 individuals with multiple ethnicities. The results show that, with the proposed sample selection, the identification error on the in-house dataset for the close-set identification decreased from 3.11 to 2.46% at 0.11% and 0.06% FMR. For the open-set identification, the FNMR decreased from 9.36% to 5.40% at 6.20% and 3.23% FAR, respectively. In addition, the experiments on the LFW dataset have also demonstrated the efficacy of the proposed system consisting of the proposed sample selection method and the selection of face recognition modules. That is, the performance improvement is noticeable as compared to the baseline where the sample selection method is not deployed and to the previous work when multiple samples are used for enrollment. [ABSTRACT FROM AUTHOR]

The aim of this paper is to deal with the effects of touristic imaginations of what is 'typically' Thai in terms of the local handicraft production and the souvenir business and its development since the 1960s by using the concept of the so-called mutual gaze as a theoretical frame. In this context, it has to be asked on the producers' side how touristic conceptions of Thai material culture influence how and what kinds of objects are produced; it also raises the question whether producing and selling souvenirs constitutes a significant and supplementary income for people in peripheral regions with few other economic alternatives. On the consumers' side the question arises, what attributes tourists actually imagine of being 'typical' for Thai material culture. In order to answer these questions, the types and form of production of items sold in contemporary touristic hotspots in the provinces of Chiang Mai and Mae Hong Son, Northern Thailand, are analyzed. The findings presented in the present paper are derived from a series of qualitative interviews with producers of souvenirs in handicraft villages and from standardized, questionnaire based interviews with Western tourists in the Chiang Mai Night Bazaar area conducted in 2015 and 2016. [ABSTRACT FROM AUTHOR]

The production of silk occupies a unique place in Thai cultural and economic practices. However, the practice is rarely passed on to the younger generation and is widely considered to be a dying craft. In response, influential organizations have proposed use of the internet as a way to reinvigorate the industry and attract new customers. This paper looks at the discourses used to sell silk and the ways in which sellers are either framing Thai silk as a traditional craft in need of saving or as an enterprise that efficiently engages with the commercial needs of the global economy. The paper reviews the range of, often problematic, emotions, images, and associations used to sell a dying craft. Ultimately, it argues that, in contrast to many of the theorized effects of the internet, it seems to be neither encouraging mass homogenization nor pushing sellers to effectively integrate themselves into global markets. La producción de la seda ocupa un lugar único en la cultura y las prácticas económicas tailandesas. Sin embargo, la práctica pasa muy raramente a la generación más joven y está ampliamente considerada como una artesanía que está desapareciendo. Como respuesta, organizaciones influyentes han propuesto el uso de internet como una vía para reforzar la industria y atraer nuevos clientes. Este artículo examina las discusiones que se usaron para vender la seda y las maneras en que los vendedores están ya sea conceptualizando a la seda tailandesa como una artesanía tradicional que hay que salvar, o como una empresa que se compromete eficientemente con las necesidades comerciales de la economía global. El artículo revisa la serie de asociaciones, imágenes y emociones frecuentemente problemáticas, usadas para vender una artesanía que está desapareciendo. Finalmente, sostiene que en contraste con muchos de los efectos teorizados de internet, parece ser que no está animando a una homogenización de masa ni empujando a los vendedores a integrarse efectivamente a los mercados globales. 丝绸生产在泰国经济与文化的各行业中占据独特地位。然而，此行业却鲜能薪火相传，且被广泛认为是一门挣扎在死亡线上的工艺。为了挽救该行业，有影响力的组织已经提议使用因特网重振该产业，并吸引新的消费者。本文审视用来出售丝绸的话语体系，以及（丝绸）卖家的方式，他们或者定位泰国丝绸为一门需要拯救的传统工艺，或者为一个可以有效地与全球经济的商业需求相联系的企业。本文评估了用来营销一个濒于灭绝行业的做法，尽管它们都是有问题的，例如，动之以情、树立形象和建立联络。最后，与因特网的许多理论化效应做了对比，本文认为，这种做法激励大规模的同质化，有助于卖家有效地融入全球市场。 يحتل إنتاج الحرير مكانةً متفردةً في الممارسات الثقافية والاقتصادية في تايلند. ومع ذلك، فنادراً ما تُنقل هذه الممارسات إلى الأجيال الأصغر، كما يُنظر إليها على نطاق واسع باعتبارها صنعة منقرضة. ورداً على ذلك، اقترحت بعض المنظمات ذات النفوذ استخدام الإنترنت لإعادة إحياء تلك الصناعة واكتساب عملاء جدد. وتتناول هذه الدراسة أنواع الخطاب المستخدمة لبيع الحرير، والطرق التي يلجأ إليها البائعون لتصوير الحرير التايلندي إما باعتباره صنعة تقليدية تتطلب الحفاظ عليها وإما باعتباره استثماراً يدخل بجدارة في المتطلبات التجارية للاقتصاد العالمي. وتتناقش الدراسة أنماط المشاعر والصور والارتباطات المستخدمة لترويج صنعة منقرضة، وهي أنماط كثيراً ما تنطوي على إشكاليات. وتخلص الد&#x63 비단 생산은 타이 문화와 경제에서 독특한 위치를 차지하고 있다. 그렇지만, 비단생산은 젊은 세대에게 거의 전수되지 않고 사라져 가는 수공업으로 간주된다. 대응해서 영향력 있는 조직들이 산업을 다시 부흥시키고 새로운 고객을 유치하기 위하여 인터넷 사용을 제안하였다. 이 논문은 비단을 팔기 위해 사용된 담론과 판매자들이 타이 비단을 보호가 필요한 전통 산업으로 프레이밍하거나 혹은 세계 경제의 상업적 필요에 효율적으로 개입하는 기업으로서 프레이밍하는 방식을 살펴본다. 이 글은 죽어가는 공예품을 팔기 위해 사용되는 때로는 문제가 되는 감정, 이미지와 단체들을 살펴본다. 궁극적으로 이론적으로 다루어진 많은 인터넷 효과와는 대조적으로 인터넷은 대량 동질화를 촉진시키기도 않았고, 판매자들을 세계 시장으로 통합시키지도 않았다는 것을 주장한다. Производство шелка занимает уникальное место в тайской культурной и экономической практиках. Однако, практику ремесла редко передают молодому поколению и, как широко полагают, оно является умирающим. В ответ влиятельные организации предложили использование Интернета как способа вдохнуть новую жизнь в отрасль и привлечь новых клиентов. Эта статья рассматривает дискурс, который используется для продажи шелка и способы, которыми продавцы преподносят тайский шелк в качестве традиционного ремесла, нуждающегося в сохранении или как предприятия, которое эффективно взаимодействует с коммерческими потребностями мировой экономики. В статье рассматрив&#x4 [ABSTRACT FROM PUBLISHER]

This paper explores the changing role and place of handicrafts in contemporary rural development processes. Building on fieldwork conducted in four settlements in northern Thailand and Vietnam, we discuss how a traditional sector is being reshaped under the forces of globalisa-tion and what this means for the character of rural livelihoods. This empirical analysis permits us to reflect on wider areas of debate within development and economic geography. By examining the spatialities of production, we explore how the 'place' of handicrafts in the settlements is being reshaped. We show how, although handicraft production retains an image of being part of a traditional sector built around local skills and inputs, in reality the activities have become deterritorialised and are increasingly spatially dispersed. Nonetheless, handicraft production remains economically and socially embedded and is helping to sustain village economies both in situ and in distant locations. [ABSTRACT FROM AUTHOR]

Therapeutic craft is a meaningful occupation used in occupational therapy. This study investigated the lived experience of clients with schizophrenia who engaged in craft activities. This qualitative study was conducted at a mental health hospital where seven participants were recruited through purposive sampling to participate in semi-structured interviews. A thematic analysis was used to process the data. Four themes emerged from the analysis: (i) sense of self and value, (ii) facilitators to occupational engagement, (iii) barriers to occupational engagement, and (iv) future hope. Experiences of clients with schizophrenia provide insight and perhaps a road map for developing holistic rehabilitation and the transition to the future. [ABSTRACT FROM AUTHOR]

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Culture is touted as integral to the concept of sustainable development, yet most sustainable development efforts omit a cultural component. This paper targets traditional handicrafts as a potential cultural component for a sustainable development strategy. This paper analyses two of the traditional crafts of Chiang Mai, Thailand - saa papermaking and laquerware production - to identify the aspects of culture, environment and livelihood embedded in these crafts. The traditional production processes are diagrammed to illustrate the natural resource inputs and environmental impacts of these processes, as well as to identify spin-off economic activities from those same natural resources. The objective is to build a case for a culturally sensitive sustainable development that would revive traditional knowledge and skills, revitalise renewable natural resources and spawn new restorative economic activities that work in synergy with nature and culture. [ABSTRACT FROM AUTHOR]

What happens to authenticity in the age of global markets? Rather than enforce such sharp dichotomies as 'authentic/inauthentic' (object) or 'exploited/ not-exploited' (artisan), this article recognizes that the notion of authenticity evolves and gains strength through a process of differentiation that largely relies on the social situations that the artisans, the sellers and the buyers inhabit. This article documents how the Thai artisans of the Hang Dong district have diversified their notions of authenticity in producing and marketing their ethnic and tourist arts. Handicraft artisans and entrepreneurs sometimes create multiple meanings of authenticity to accommodate, modify, and at times resist, the effects of globalization on local culture and local economic life. These different understandings of authenticity initially direct the course of production and exchange; but new, sometimes unexpected, understandings emerge in the course of action. The four social sources of authenticity are reactive identity, reluctant engagement, complicit appropriation, and transcendental values. Each source has a different effect on how much local control artisans exert in production and exchange and how long traditional motifs and production processes endure in the commercial market for crafts. [ABSTRACT FROM AUTHOR]

Three-dimensional (3D) technology has attracted users' attention because it creates objects that can interact with a given product in a system. Nowadays, Thailand's government encourages sustainability projects through advertising, trade shows and information systems for small rural entrepreneurship. However, the government's systems do not include virtual products with a 3D display. The objective of this study was four-fold: (1) develop a prototype of 3D handicraft product application for smartphones; (2) create an online questionnaire to collect user usage assessment data in terms of five sentiment levels—strongly negative, negative, neutral, positive and strongly positive—in response to the usage of the proposed 3D application; (3) evaluate users' sentiment level in 3D handicraft product application usage; and (4) investigate attracting users' attention to handicraft products after using the proposed 3D handicraft product application. The results indicate that 78.87% of participants' sentiment was positive and strongly positive under accept using 3D handicraft product application, and evaluations in terms of assessing attention paid by participants to the handicraft products revealed that positive and strongly positive sentiment was described by 79.61% of participants. The participants' evaluation results in this study prove that our proposed 3D handicraft product application affected users by attracting their attention towards handicraft products. [ABSTRACT FROM AUTHOR]