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INTRODUCTION: Quantification of antimicrobial resistance (AMR) is beneficial to inform policies and direct prudent antimicrobial use. AIM: This study aimed to assess the current published evidence of AMR from passive and active ad hoc surveillance activities within the Australian dairy cattle industry. METHODS: Following a scoping review framework 373 articles published before January 2023 were retrieved using the keyword search function from two online databases (PubMed® and Web of Science™ Core Collection). The duplicate articles were removed and the title, abstract, and full text of the remaining articles were reviewed following the study objectives and inclusion criteria (location, subject/theme, and data). Data from the remaining articles were extracted, summarised, interpreted and the study quality assessed using the Grades of Recommendations, Assessment, Development, and Evaluation guidelines. RESULTS: A total of 29 articles dating from the 1960 s until 2022 were identified to meet the study criteria (passive: n = 15; active: n = 14). Study characteristics such as sampling type, sampling method, and AMR assessment were all common characteristics from both passive and active surveillance articles, being milk samples, individual sampling, and phenotypic assessment respectively. Passive surveillance articles had a wider range in both the type of bacteria and the number of antimicrobials investigated, while active surveillance articles included a higher number of bacterial isolates and sampling from healthy populations. There was an overall low level of clinical AMR across all articles. Higher prevalence of non-wildtype Escherichia coli, Salmonella spp., and Staphylococcus spp., although limited in data, was suggested for commonly used Australian veterinary antimicrobials for these bacteria. The prevalence of phenotypic AMR varied due to the health and age status of the sampled animals. The articles reviewed in this study suggest the prevalence of AMR genes was h

Cryptic mortality in fisheries relates to the unobserved or unrecorded mortality in a target ecosystem and is an important aspect of harvest management for fishery managers. Depredation is a key, observable form of cryptic mortality that relates to predators consuming a targeted species being caught within a fishing industry. This is of particular interest to the Queensland spanner crab fishing industry, where additional unobserved or unrecorded mortality through depredation of catch could be restricting current efforts to rebuild the population. High-resolution cameras were deployed on 178 baited tangle-nets (dillies) to investigate cryptic mortality, species interactions, and depredation within the spanner crab Ranina ranina fishery in Queensland, Australia. Physical parameters including current speed, temperature, depth, and time of soak were recorded. Depredation events were observed in the fishery by two species of endangered batoid species, the bowmouth guitarfish Rhina ancylostoma and wedgefish Rhynchobatus spp. However, rates of depredation in the fishery were low, with only 3.82% of crabs depredated. Fishing losses were calculated by comparing the total crabs on retrieval of a dilly, against total crabs observed while still soaking (MaxN) and at the beginning of retrieval. Overall, there was a loss of 37% in potentially harvested crabs through a combination of cryptic mortality and inefficient fishing practices. However, 27% of the losses could be reduced through shorter deployment times. We identified a significant correlation between the rate of depredation and current speed (∼0.6–0.8 knots), soak time and depth (<35 m). We also report spanner crab shell damage caused by mantis shrimp interactions, that likely contribute to an increase in spanner crabs discards due to unmarketable product. By identifying the species and drivers involved in spanner crab depredation, this study provides insights into ways that depredation events can be mitigated and managed

This issue features the work of individual practitioners who explore making through established decorative arts such as fine jewellery in Paris, mosaic glass making in Myanmar and a ceramic installation in the Cathedral of Palma de Majorca, alongside socially engaged groups employing co-production methodologies for designing everyday objects and experiences. Within each article, materials and the immediate and wider environment are considered as partners in the co-crafting process, albeit to varying degrees. The notion of serendipity and the influence of eastern philosophy on embracing imperfection in craft practice underpins some accounts and is questioned in others. As a collection, the articles evidence a palpable shift towards, and need for a more equal relationship and level of agency between the maker and the material, as argued in the Position Paper. This includes consideration of gender equality in particular crafts, where roles are traditionally linked to the properties of the materials and skills involved, as highlighted in the Craft and Industry Report. Social engagement through craft is echoed in the Portrait where stitch and embroidery are practised as forms of participatory expression, supporting human connectivity between cross-cultural and trans-national communities to influence issues of social justice. The affective role and emotive sensations evoked by textiles are also explored in the exhibition review of A Thread, Levitated and Hovering, staged in Hangzhou in 2022 and the first of three book reviews; Feminist Subjectivities in Fiber Art and Craft (2021), the other two discussing The Pursuit of Pleasurable Work (2021) and Industrial Craft in Australia (2021).

The editorial highlights how the practitioners featured in issue 14.2 seek intrinsic value within and through making, supported by relationships with the natural and social world. The contributions are clustered into three themes. In ‘materiality and nature’, Tara Chittenden explores ‘Ceramics in the wild: Deep mapping and the moon jars of Adam Buick’, and how the ceramicist’s vessels represent the cycle of a material, and life itself. Myriam Perret‘s ‘Rhythms in the production and commercialization of crafts in Chaco’ reports upon her ethnographic study of the Qow people of Argentina and their craft Delivered by Intellect to: of cattail harvesting and weaving, revealing seasonal and weather-related choices. Theme 2, ‘making and metaphor’ includes ‘Data becomes quilt’, by Jayne Jackson, who analyses a range of influences and social semiotic meanings encoded within her own and others quilt-making. The relationship of social meanings and craft activities are researched by Miriam Gibson and Rachel Spronken-Smith’s ‘Learning in online and physical craft groups: Motivations and meanings’, while Linnea Kilpi, whose work is featured on the cover, presents ‘Meaning-making through experimental knitting practices’, supported by the concept of ‘Knittedness’. Theme 3, ‘tradition, heritage and the future’, begins with Sara Sintonen and Mikko Snellman’s portrait of ‘Tarmo Thorström’ whose contemporary craft practice is rooted in the cultural tradition of bobbin lace making in Rauma on the west coast of Finland. Wendy Ward’s review of the exhibition, We Are Commoners, speculates on how historical notions of sharing – as represented by ‘the commons’ and exemplified by the Right to Roam and Right to Repair movements – could be re-imagined as the basis for sustainable craft practice. Sarah Teasley’s (2022) Designing Modern Japan, is reviewed by Marie O’Mahony and the Tradition/Innovation: Craft and Future Intangible Cultural Heritage conference held at West Dean College in March 2023

Craft as a profession has long been associated with dexterity and skill, independence and fulfilment. From the Renaissance onwards, we have many accounts of craftsmen and women who take great care and responsibility in their practice and who present their work and themselves with pride. Today, with the advent of leisure time, growth in ageing populations and medical and technological advances, the crafts have become more multi-layered than ever, with applications in areas well beyond traditional professions. With this shift, craft practice is increasingly recognized as a positive influence on personal and communal well-being when used as a vocational, leisure and social activity.