Tubby mice succumb to blindness, deafness, and obesity. Vision and auditory deficits are attributed to neurodegeneration and tubby-associated obesity has been postulated to result from neuronal deficits in brain regions controlling weight regulation. TUB has been implicated in Gq signaling and 2 isoforms of TUB, found exclusively in the brain, may have opposing effects on transactivation. Toward this end, I developed several cell culture assays to interrogate TUB function and found that TUB directs neuronal outgrowth in an isoform-specific manner. One isoform directs stable and polar outgrowth while the other directs multiple process outgrowths and branching. These effects can occur via Gq signaling and require nuclear localization. Furthermore, I have found that the serotonergic system of tubby mice displays morphological and innervation deficits. Since the serotonergic system is implicated in modulating moods and behaviours, including appetite, these deficits may result in the obesity and motivational issues observed in tubby mice.

This thesis examines the practices and techniques involved with particular electronic instruments and proposes an archaeological approach to reconsider the ways in which noise can communicate various details of instrument design and practice to the listener. I present two case studies concerning electronic music practice using repurposed devices - stepped filters - and by combining a detailed material analysis of the instruments with interviews, video and other evidence, I document the practices involved with their use. By rebuilding these instruments, and designing and building other devices, I test my hypotheses through my own practice, and by doing so I refine my results and extend my composition, performance practice and technical design skills to include valuable lessons learned through this research. The portfolio engages with the three archaeological levels (Listening Situation, Reproduction Stage, Production Environment) and the three areas of the production continuum (Composition, Performance Practice, Technical Design) and through sound installations, crafted media, recorded performances, and the documentation of devices designed for these pieces, it supports the thesis through experimentation and incorporation of results through reflective practice.

Audio files not uploaded onto institutional repository due to copyright restrictions: Hayes, T. & Clark, T. The New York sessions. / Tubby (Edward Brian) Hayes; prodigious self taught multi-instrumentalist and virtuoso tenor saxophone player has been proclaimed by some to be the best saxophonist that Britain has ever produced: "Indisputably the most accomplished and characterful British jazzman of his generation." His career, although cut short (he died undergoing treatment for a heart condition in June 1973, aged 38) was perpetually intense, incredibly prolific, and non-stop from his debut at the age of fifteen until his premature death. Hayes was proficient on many instruments; all saxophones, clarinet, flute, violin and vibraphone as well as being an accomplished bandleader and arranger. However it was his virtuoso tenor saxophone playing that found him acclaim. Although well known in his time and widely renowned for his ability, Hayes until recently has been little studied. It is only in the last few years that many critics and students of jazz have attempted to gain an understanding of Hayes' improvisational concept, which has been both praised as genius and criticised as directionless: Tubby Hayes has often been lionized as the greatest saxophonist Britain ever produced. He is a fascinating but problematical player. Having put together a big, rumbustious tone and a delivery that features sixteenth notes spilling impetuously out of the horn, Hayes often left a solo full of brilliant loose ends and ingenious runs that led nowhere in particular... However, Hayes, his legacy, and his inimitable style of tenor saxophone playing would truly leave their mark on the British Jazz community for generations to come. Dave Gelly summed up Hayes by saying that Tubby "played Cockney tenor - garrulous, pugnacious, never at a loss for a word and completely unstoppable."