Novel Elliptic-function Low-pass Filter (LPF)

Novel Elliptic-function Low-pass Filter (LPF) Performance of microstrip low pass filter with stub loaded Electromagnetic Band Gap ground plane Mariselvam V, Raju S Abstract A novel elliptic-function low-pass filter (LPF) is Presented, which consists of a Electromagnetic band gap on the ground plane. The Electromagnetic band gap provides the required wideband attenuation in stop band, while the slot provides steep transition from pass band to stop band. A 5.4 GHz five-pole LPF is developed and experimental results show that it has a sharp cutoff frequency response. The measured pass band insertion-loss is below 0.4 dB, and the rejection band over 15 dB is from 5.425 GHz to 8.25 GHz, Which increases from 2.95 GHz.      Keywords:  Defected ground structure (DGS), elliptic-function filter, low-pass filter (LPF). 1. INTRODUCTION Recently, defected ground structure (DGS) has become one of the most interesting areas of research in microwave and millimeter wave Applications [1]. It could be widely used in microwave circuit design such as power divider, power amplifier and especially in filter design [1–9]. Low pass filters (LPF) design require that both in-band and out-band performances should be: low loss, high selectivity, high rejection, and wide spurious free frequency ranges. Many novel types of microstrip filters have been proposed and designed. Periodic or non-periodic DGS are realized by etching a slot in the backside metallic ground plane. The etched slot disturbs effectively the current distribution in the ground plane of microstrip line and the results in resonant characteristics [2, 3]. IT is well known that typical properties of low-pass filters (LPFs) can be obtained by adding periodic structures to transmission lines. The representative periodic structures for planar transmission lines and/or microwave circuits are photonic band gap (PBG) and defected ground structure (DGS) [4, 5]. The PBG has been known as a popular periodic structure for planar transmission lines. However, drawbacks of PBGs have been also discussed as follows. 1) A large area is needed because a number of periodic patterns should be adopted. 2) It is obscure to define the unit element, and difficult to extract the equivalent-circuit elements for the PBG unit element. 3) Therefore, it is very restricted to extend its practical application to microwave circuits. To the contrary, one can easily define the unit element of the DGS and model the equivalent circuit. In addition, since only a few DGS elements show the typical properties of periodic structures, the resultant circuit size becomes relatively small. Furthermore, the structure of the DGS is simple and it is easy to design the DGS pattern. For these reasons, since [4] has introduced the structure and called it a DGS for the first time, the DGS has been extensively applied to design microwave circuits such as filters, power dividers, couplers, amplifiers, oscillators, and so on [1], [6]–[12]. There is much previous research about the characteristics of LPFs having periodic structures on microstrip or Coplanar waveguide (CPW) transmission lines [13]–[16] However most of them are not analytical because they mainly depend on electromagnetic (EM) simulations to design LPFs and predict circuit performances. To the contrary, in the design of LPFs using DGSs including this study, all design steps are based on theories and reasonable explanations as follows. The equivalent-circuit elements of the DGS is extracted and used for replacing the series inductances in the LPF Prototype circuit. The LPF is composed of the extracted equivalent lumped Elements, thus, it is an ideal LPF, is designed, and is compared to the realized LPF using the DGS practically. Two methods to design a three-pole LPF using the DGS has been proposed in [1] and [6]. In these papers, the sizes of two DGS patterns in the LPF were exactly the same because two inductances in the three-pole â€Å"L1 (series) C2 (shunt) L3 (series)† prototype LPF are identical. In [6], discontinuity elements such as tee- or cross-junctions were adopted to connect open stubs to realize the shunt capacitance. However, in the three-pole LPF proposed in [1], there are no junction elements, thin transmission lines for high impedance, or open stubs. In addition, the width of the transmission-line elements in the LPF has been remarkably broadened. Thus, advantages such as compact design and error-robust realization fabricating the layout have been obtained. However, in order to design -stage LPFs using the DGS, e.g., a five-stage like â€Å"L1 (series) C2 (shunt) L3 (series) C4 (shunt) L5 (series),† two different dimensions of the DGS have to be adopted because L3 is no t equal to L1=L5, although. In order to select the proper dimension of the DGS for L3 careful consideration based on filter theories, extracted equivalent- circuit elements of various DGS dimensions, and some related topics of transmission lines should be taken. The size of the DGS for L3 is determined by accurate curve-fitting results for equivalent-circuit elements to correspond exactly to the required inductance. In addition, the length of transmission-line elements between DGS patterns is determined through the consideration for the equivalent capacitance and additional parasitic inductance, as well as the required shunt capacitances in the prototype LPF. Therefore, a design of a five-pole DGS-LPF requires many more complex steps than the previous three-pole DGS-LPF shown in [1] and [6]. Thus, the goal of this paper is to propose a new technique to design an -pole LPF having (â€Å"DGS-LPF†), and to generalize the previous design method for N>5 using different sizes of DG S patterns. For this purpose, modeling for the equivalent circuit of the DGS, a curve fitting for determining the required different sizes of the Fig.1 Top view of the Microstrip line with a DGS pattern and its dimensions in mm Fig.1a. Bottom view of the Microstrip line with a DGS pattern and its dimensions in mm DGS that reflects the inductance values in the prototype LPF and a practical design example will be successively discussed. In order to show the validity of the proposed method, a five pole DGS-LPF, as an example, is designed and measured in this paper. The five-pole DGS-LPF has a much wider microstrip line than conventional microstrip LPFs, and does not include high-impedance lines, which have been essentially required in conventional design. The series inductances in the prototype LPF are realized by DGSs, while the shunt capacitances are realized by the widely compensated transmission line. Therefore, no discontinuity elements such as tee- or cross-junction for connecting open stubs are required because there are no stubs in the DGS-LPF. 2. DGS PATTERN AND MODELING FOR THE EQUIVALENT CIRCUIT Fig. 1and 1a shows a microstrip line having a dumb-bell DGS and its -parameters from an EM simulation. Two elliptical defected areas and one connecting slot correspond to the equivalently added inductance (L) and capacitance(C), respectively. Accordingly, a resonance occurs at a certain frequency because of the parallel L–C circuit. Inversely, it is intuitively known that the equivalent circuit includes a pair of parallel inductor– capacitor from the resonant phenomenon in the -parameter. This means the microstrip line having the DGS does not have all-pass characteristics, but restricted pass band properties. Fig.2. Equivalent circuit of the microstrip line with unit DGS using ADS In addition, slow-wave characteristics are observed due to the added– components of the DGS [3], [5], [9]. The defected areas can be realized by not only ellipse, but also other geometries such as triangle, circle, hexagon, octagon, spiral, and so on. It is very clear that the resonant frequency (wo) of the DGS and 3-dB cutoff frequency (wc 3dB) exist as shown in Fig. 1.The equivalent – circuit of the DGS can be extracted because this kind of electrical characteristic is observed from a typical L –C parallel resonant circuit. The equivalent circuit of the DGS and one-pole Butterworth prototype of the LPF are presented the DGS in Fig. 2. The equivalent L– C elements are calculated by (1–3) because two reactance values of Fig. 2(a) must be equal at wc 3dB as follows XLc= (1) XL = ωZo g1 (2) XLc | ω= ωc, (3) Where w'(=1), g1 (=2) and Zo (=50ÃŽ ©) are the normalized 3-dB cutoff frequency, element value of one-pole Butterworth prototype LPF, and port impedance, respectively, and wo = (1/√ Lk1Ck1). The calculated L2and c2 of the DGS shown in Fig. 2 are 3.2 nH and 0.8194 pF, respectively. Fig. 3 shows an excellent agreement between the previous -parameters shown in Fig. 1 and the new ones calculated using Lk1and ck1. Advanced Design System (ADS), a circuit simulator from Agilent Technologies, has been used for the calculation. This agreement means that the modeling technique is valid in extracting the equivalent-circuit elements. It should be noted that this is one of the great advantages of DGS because it is possible to define the unit element of the DGS and to establish the equivalent circuit of it, while the conventional Planar transmission lines with a periodic structure such as a PBG have difficulty in defining the unit element and to extract the modeled circuit element. 2.1 DESIGN OF THE FIVE POLE LOWPASS FILTER A. Prototype LPF and Adoption of DGS The method to design a five-pole LPF using the DGS is discussed here. Fig. 3 depicts the prototype circuit of a five-pole LPF. Here gi (i=0, 1, 2, 3, 4, 5, 6), represent the normalized element values of a Chebyshev prototype LPF for the given ripple [17]. According to the design theory of filters, in order to transform the prototype LPF to the LPF composed of lumped elements, the values of L1,C2,L3,C4 and L5can be determined owing to the impedance and Fig.3. Five-pole Chebyshev prototype LPF with Elliptic DGS Fig.3a. Equality of a series inductor to an LC parallel circuit frequency scaling rules expressed in (4)–(6). Here, ωc means the Cutoff frequency of the LPF L1 = = = L4 (4) L3 = (5) C2 = = C4 (6) Fig.4. Performance of the designed five pole LPF using ADS Fig.5. Performance of the designed five pole LPF using CST 2.2 PERFORMANCE OF THE DESIGNED DGS-LPF FIG. 6 shows the measured S-parameters of the designed DGS-LPF, as compared with the theoretical performance (circuit simulation) and the EM simulation by CST-MWS. As shown, the measurement result agrees with the EM simulation very well. The designed elliptical function DGS-LPF exhibits a much shaper transition knee than the Chebyshev one reported in [5]. Its transition bandwidth from 1 to 20 dB attenuation is only 0.45 GHz. The measured pass band insertion loss is less than 0.3 dB. The stop bandwidth corresponding to 15dB rejection is from 2.95 to 8.25 GHz. The total length of the designed DGS-LPF is 17 mm, and compared with the LPF reported in [5], it is reduced about 40.88% and compared with the LPF reported in [6] it is reduced about 14.66%. Fig.6. Measured result of the designed five pole LPF using Agilent Network analyzer N5230A 3. PERFORMANCE OF THE PROPOSED DGS LOWPASS FILTER Fig.7. Top view of the Microstrip line and its dimensions in mm Fig.7a. Bottom view of the Microstrip line and its dimensions in mm The proposed five-pole DGS-LPF has a much wider microstrip line than conventional microstrip LPFs, and does not include high-impedance lines, which have been essentially required in conventional design. The series inductances in the prototype LPF are realized by DGSs, while the shunt capacitances are realized by the widely compensated transmission line. A stub like elements which gives a inductance effect is introduced in the proposed DGS-LPF. DGS combined with microstrip line causes a resonant character of the structure transmission with a resonant frequency controllable by changing the shape and size of the slot. There is a huge evolution in terms of defected shapes: dumbbell, periodic, fractal, circular, spiral, and L shaped [12–14]. In this paper, a novel elliptic shape DGS is proposed for the LPF design. The use of elliptic shape DGS will be shown to give sharp cut off frequency response as well as a good performance in the pass band. The analysis of the dimension parameters with different dimension parameters was demonstrated as a design guide. The equivalent circuit (EC) has been extracted to characterize the proposed low-pass filter. The equivalent circuit model agrees with the field simulation results. The theoretical and measured results are presented with good agreement for LPF. The total length of the designed DGS-LPF is 15 mm, and compared with the LPF reported in [5], it is reduced about 60% and compar ed with the LPF reported in [6] it is reduced about 29%, the pass band increases up to 5.425 GHz from 2.95 GHz and the stop bandwidth corresponding to 15dB rejection is from 5.425 GHz which is suitable for WLAN application Fig.8. Comparison Performance of the designed five pole LPF Fig.9. Equivalent circuit of the microstrip line with unit DGS using ADS Fig.10. Measured result of the proposed five pole LPF using Agilent Network analyzer N5230A Tab 1: Performance of the five pole LPF using CST Tab 2: Dimensions of the proposed DGS designs Tab3. Prototype elements of the five pole elliptic function LPF Fig.11. Top view of the prototype Fig.11a. Bottom view of the prototype 4. CONCLUSION This letter has presented a new LPF to obtain elliptic-function response using Dumbbell shaped DGS. The designed LPF exhibits sharp cutoff frequency response, low insertion loss, and excellent stop band performance. The proposed design procedure can be extended to arbitrary -stage LPF. In addition, its physical structure is only composed of defect and microstrip line, so it is easy to fabricate. Since this design is simple, analytical, and does not require any optimization process, this kind of equivalent circuit model of DGS and its design technology may be further applied to various microwave circuits such as low-noise amplifiers, diplexers, mixers, and so on. References SERGIO PALMA PACHECO, JIANEI WANG, JONG- GWAN YOOK, AND LINDA P. B. KATEHI, â€Å" Micromachined Filters on Synthesized Substrates Rhonda Franklin Drayton,† IEEE Trans. Microwave Theory Tech, 2001, Vol. 49, No. 2. SYSTEMS PIERRE BLONDY, ANDREW R. BROWN, â€Å"Low-Loss Micro machined Filters for Millimeter-Wave Communication†,1998 IEEE vol.38, pp 22-23. C. Y. CHI AND G. M. REBEIZ â€Å"Conductor loss limited stripline resonator and filters,† IEEE Trans. Microwave Theory Tech., 1996, vol. 44, pp.626–629. S. V. ROBERTSON, L. P. B. KATEHI, AND G. M. REBEIZ, â€Å"Micromachined self-packaged W-Band bandpass filters,† in IEEE MTT-S Symp. Dig., 1995, pp. 1543–1546. J. S. LIM, C. S. KIM, D. AHN, Y. C. JEONG, AND S. NAM, â€Å" Design of low-pass filters using defected ground structure,† IEEE Trans. Microw.Theory Tech., 2005, vol. 53, no. 8, pp. 2539–2545. JINPING YANG AND WEN WU â€Å"Compact Elliptic-Function Low-Pass Filter Using Defected Ground Structure† IEEE Microwave and Wireless components letters, 2008, Vol. 18, No. 9. GAËTAN PRIGENT, ERIC RIUS, FRANÇOIS LE PENNEC, SANDRICK LE MAGUER, CÉDRIC QUENDO, GONZAGUE SIX, AND HENRI HAPPY, â€Å"Design of Narrow-Band DBR Planar Filters in Si–BCB Technology For Millimeter-Wave Applications † 2009 IEEE xplor.Vol.13. R. F. DRAYTON, S. PACHECO, J.-G. YOOK, AND L. KATEHI, â€Å"Micromachined filters on synthesized substrates,† in IEEE MTT-S Int. Microwave Symp. Dig., 1998, pp. 1185–1188. S. DEEPAK RAM PRASATH, A. THENMOZHI, P. SRINIVASABHARATHWAJ, S.RAJU, AND V.ABHAIKUMAR â€Å"A Novel Miniaturized Filter on Micromachined Multilayered Substrates† IETE 2008, Vol.54, No.2. RHONDA FRANKLIN DRAYTON, SERGIO PALMA PACHECO, JIANEI WANG, JONG-GWAN YOOK, , AND LINDA P. B. KATEHI â€Å" Micro machined Filters on Synthesized Substrates†, IEEE Trans. Microwave Theory Tech.,2001, vol.49, no. 2. S.RIKI BANERJEE AND RHONDA FRANKLIN DRAYTON, â€Å" Circuit Models for Constant Impedance Micro machined Lines on Dielectric Transitions†, IEEE Trans. Microwave Theory Tech.,2004, vol. 52, no. 1, pp. 105-111. B.F. ZONG, G. M. WANG, H. Y. ZENG, Y. W. WANG. â€Å"Compact and High Performance Dual-band Bandpass Filter using Resonator-embedded Scheme for WLANs† RADIOENGINEERING, 2012, VOL. 21, NO. 4. K.ANNARAM, SURESH NITHYA. â€Å"Investigation of Compact Low Pass Filter with Sharp Cut–Off using Metamaterial† RADIOENGINEERING, 2013, VOL. 22, NO. 3. PIERRE BLONDY, ANDREW R. BROWN, DOMINIQUE CROS AND GABRIEL M.REBEIZ, â€Å"Low-Loss Micro machined Filters for Millimeter-Wave Communication Systems†, 1998. JIA-SHENG HONG AND M.J.LANCASTER, â€Å" Microstrip Filters for RF/Microwave Applications †, John Wiley Sons, Inc., 2001 About Authors Mariselvam VENKAT Obtained his BE degree from PTR College of Engineering and Technology, Madurai and ME from Thiagarajar college of Engineering Anna university Chennai in 2010 respectively. He is now pursuing PhD in the Electronics and Communication Engineering department, Thiagarajar College of Engineering, Madurai., India. His area of interests includes microwave and millimeter wave circuits. [emailprotected] Raju SRINIVASAN Obtained her BE degree from the PSG college of technology university of madras ,India and M.tech degree from NIT Trichy ,India 1982 and 1984 respectively she received her PhD from Madurai Kamarajar University, Madurai in 1996 .She is now working as a professor and head of the department of Electronics and Communication Engineering Department, Thiagarajar college of Engineering Madurai, India her areas of research interest are wireless technologies, RF circuits and systems. [emailprotected].

Origin of Digital Species Essay -- Internet History Essays

Origin of Digital Species Lev Manovich1 and Simon Cook2 argue that the internet and digital culture should be understood as a product of late Victorian and Modernist visual forms, but it is the goal of this paper to show that the internet and digital culture, while heavily influenced by these visual forms, is not the sole product of them, and that the time period between 1930 and the present day must also be included when analyzing the history of the internet. The best illustration of this point is the similarity and yet fundamental difference between the cinematographic experiments of the Soviet Constructivist Dziga Vertov and the modern visual jockey artists known as the â€Å"NomIg Collective†. By analyzing the art forms that exist on the internet it is possible to see how they are related to the preceding forms of art that existed in the times from which Manovich and Cook claim the internet to be a product. Before the terms Late Victorian, Modernist and Post-modernist visual forms are used, it is important to define what is meant by each of these terms, and to explain how they are all in essence connected to each other. During the Victorian era the world was transformed. Starting with Darwin’s theory of evolution, the world of science crecendoed into a period of rapid discovery and accelerated advancement that was previously unknown. It was out of this boom in the intellectual world that man’s desire to possess all knowledge began to seem more of an achievable goal and less like medieval lore . It was around the Victorian period that all modern forms of classification are began to expand: Encyclopedias, Dictionaries, Museums are Libraries -to name a few forms- started to grow into their modern form as common tool... ...tov the need to refer to the cinematographer and the camera as machines that can engineer a product as well as any other piece of machinery. However, NomIg makes no self references, there is no portrayal of the computer or the human as anything specific in their work, and so they leave out a basic tenet of the Modernist manifesto. When the internet and digital culture is analyzed through the types of art it inspires it becomes clear that while the foundations for computers and artistic technique are a inspired by and partly the product of late Victorian and Modernist visual forms, it is not possible to ignore the effect that postmodernism has had on these art forms. To understand digital culture, regard should be given to both the Modernists who created the scientific framework and the Postmodernists who created the subject matter to exist within that framework.

Preschool Observation Essay

On November 13, 2014 at Grossmont College’s Child Development Center, I observed Konnor who was born on March 11, 2011. At the center, there are roughly around 15 children between the ages of three and five; there is one adult for every six or so kids. The preschool center’s indoor environment is safely secured with a locked gate that separates the outside door which leads to the younger children centers and parking lot with the hallway to the learning and play area. There are two separate rooms, but they both have screen doors that lead to the same play area outside. The room on the left, which Konnor is placed in, was smaller than the room on the right but they both had similar types of equipment and activities that children could join in on together. Both rooms were decorated with the colorful artwork of the preschool children, several tables and chairs were surrounding the indoor area, and there was an activity awaiting for kids in every corner; not one child was le ft with nothing to do. The outdoor environment is secured with a tall fence surrounding the outside area, along with a locked gate. The outdoors have many activities that encourage the kids to interact with one another. There are bicycles, a painting station, a mini-garden, a playground equipped with slides, a playhouse, large plastic blocks, and even a small stage for children to perform in dramatic play. The indoor and outdoor environment is secure for the children and encourages the children to interact with each other and play as well as learn. Tantrums were thrown, children disobeyed orders, but, the adults handled every situation presented with a calm voice and they let the children know why their action was wrong and what they can do to fix it. For example, Konnor threw a fit because there was no bicycle available for him to use, a teacher came by his side and leaned down to his level, allowing eye-to-eye contact, and talked to him about it. Konnor explained the situation through sobs, but the teacher showed no look of frustration and stood with Konnor until a bicycle was available again. The center was decorated with photos of diverse kids in  ethnicity and culture which is a eye-appealing way to teach kids about the diversity amongst each other. The Child Observed: Konnor is a 3 year and 8 month old male preschooler born on March 11, 2011. Konnor is lean with a fair complexion, blue eyes, a button nose and short blonde hair. He was wearing army pants, a gray t-shirt with a red and blue jacket, and gray sneakers. Konnor is of average height for a 3.9 year old at around 38 inches and weighs roughly around 30 pounds. Towards the beginning, Konnor interacted with many of his peers, he threw a tantrum, and even began to suck his thumb. Observing Konnor from the beginning, he reminded me of almost every topic discussed in class for his age group which made me choose him for the preschool observation. Biosocial Domain: Konnor jumps on the wooden stage in front of his peers and teacher and throws his hands above his head and into the air. With his legs in a straight position and slightly parted, Konnor leans down and places his hands onto the platform beside his feet. Keeping a firm, balanced position, he bends his elbows, places his head down, and tumbles his body over, creating a somersault. Konnor shows a growth pattern and according to Kathleen Berger, growth patterns are obvious with a comparison between a toddler and a preschooler, â€Å"The center of gravity moves from the breast to the belly, enabling cartwheels, somersaults, and many other motor skills† (225). Konnor shows a growth pattern because he was balanced when he leaned his body over in preparation for the somersault, and his hands and feet were placed firmly on the ground; he did not tumble over or stumble once. At 3 years and 8 months old, Konnor is within the norm for this growth pattern since it appears at 2 years old (Ch . 8 PowerPoint). Konnor begins to unstack the colorfully large, plastic Lego blocks. He grabs one blue block and places it to one side, and begins to do that with every other color presented to him. Konnor begins to stack up the Lego blocks separately according to the color; all the blue blocks were stacked neatly in a separate stack, as well as the red blocks and so on. Konnor shows maturation and according to Berger, maturation of the prefrontal cortex can be identified through observing children play certain games such as Simon  Says, and â€Å"the color game,† which was found that children were able to sort the cards out by their color. (234) Konnor shows maturation because he was able to unstack the uncoordinated colored blocks to color coordinate them, unlike a few children surrounding him who profusely stacked the blocks, regardless of the color order. At 3 years and 8 months old, Konnor is within the norm for this development since it appears at 3 years old (Berger, 234). Konnor picks up a tree branch that has fallen beside a tree, he stares at it and looks up at the tree and back at the branch. With the branch still gripped firmly in his hand, Konnor begins to lift his body to wrap his arms and legs around the tree. Hugging the tree with his body, Konnor begins to ease his way up the tree by pushing his legs up first to scoot the lower half of his body up, and then lifting his arms up further to scoot up his upper body as well. Konnor shows gross motor skills and according to Berger, gross motor skills are defined as, â€Å"physical abilities involving large body movements, such as walking and jumping† (145). Konnor shows gross motor skills as he lifts his body to meet the tree as well as scooting his legs and arms up the tree to move up further which requires the use of his large muscles in both his lower and upper body. At 3 years and 8 months old, Konnor is within the norm for gross motor skills as it appears 8 to 10 months after birth (Berger, 145), but, Konnor is not within the norm for an activity, such as climbing a tree, since it appears at 5 years old (Berger, 238). Cognitive Development: Konnor picks up a tree branch that sits beside a tree and he begins to feel the leaves hanging from the branch and curves his lips upwards. Konnor takes a deep breath and says, â€Å"Hi, plant! How was your day?† as he begins to shake the plant for a response, Konnor responds to the tree branch that he, too, is having a good day. He sets the branch down back where he found it and says his goodbyes to the branch as he walks away. Konnor shows animism, which Kathleen Berger defines as, â€Å"the belief that natural objects and phenomena are alive† (259). Konnor showed animism because he began to have a minimal conversation with the tree branch and asking it how its day was as if it were animate. At 3 years and 8 months old, Konnor is within the norm for this development as it appears at 2 years old (Berger, 257). The teacher gives Konnor a cup and spoon like hers and asks Konnor to wait for further instructions. Konnor begins to stir the brown sugar that the teacher placed in his cup until it is well mixed like her mixture. The teacher pours some vanilla extract into her cup and then hands over the vanilla to Konnor and asks him to pour it into his cup full of brown sugar. Konnor does what he is told and waits for the rest of his teacher’s instructions; the teacher tells Konnor to stir the mixture once again just as she does hers until the caramel is formed. Konnor shows guided participation, which Berger defines as, â€Å"the process by which people learn from others who guide their experiences and explorations† (262). Konnor was able to make the caramel by watching his teacher do every step in making the dip along with her explaining to him verbally as to what to do in each step. At 3 years and 8 months old, Konnor is within the norm for this development since it appears at 3 years old (Berger, 262). Konnor holds the tree branch in front of his face while two of his peers surround him. He keeps a grasp onto the stem until the leaves on the branch begin to rustle against each other and Konnor opens his mouth in a form of an ‘O’ and raises his eyebrows up. Konnor turns to his friends and says, â€Å"Did you see the leaves move?! That means the plant is dancing and is happy to see me.† Konnor shows theory-theory, which Berger defines as, â€Å"the idea that children attempt to explain everything they see and hear by constructing theories† (266). Konnor must have seen leaves rustle in the trees previously and waited with his peers for something to occur with his branch. Konnor believes that when the leaves on a tree or a plant begin to move along with the wind, it means that the tree/plant is dancing because it is happy. At 3 years and 8 months old, Konnor is within the norm for this development since it appears at 3 years old (Berger, 267). Language: Konnor stands across his peer on the wooden play stage and lifts his arms up and roars like an animal. His peer proceeds to do the same, but Konnor stops and says to his peer, â€Å"you have to be louder; throw your hands up and roar!† His peer does what Konnor suggests and Konnor nods his head at him. â€Å"Now get on the floor and roar!† Konnor says as he shifts his body down on the wooden  platform so his knees and hands are placed on the floor. Konnor continues to roar along with his peer on the play stage and tells his peer to follow him just as he begins to circle his body around the stage. Konnor shows social mediation, which Berger defines as, â€Å"human interaction that expands and advances understanding, often though words that one person uses to explain something to another† (264). Konnor had to stop to explain and show his peer how to roar loudly like him by telling him how through a minimal conversation as well as demonstration. Konnor then instru cts him what to do next such as to get on the floor and to follow him and continue to roar. At 3 years and 8 months old, Konnor is within the norm for this development since it appears at age 3 (Berger, 264). Konnor picks up a tree branch that sits beside a tree and he begins to feel the leaves hanging from the branch and curves his lips upwards. Konnor takes a deep breath and says, â€Å"Hi, plant! How was your day?† Konnor waits for a response while the branch is held in front of his face, then continues to talk to the branch by saying â€Å"I’m having a good day too, plant!† Konnor shows fast-mapping, which Berger defines as, â€Å"the speedy and sometimes imprecise way in which children learn new words by tentatively placing them in mental categories according to their perceived meaning† (270). When talking to the tree branch, Konnor kept referring the branch to a â€Å"plant† because he believes that anything with wood and leaves is considered a plant. At 3 years and 8 months old, Konnor is within the norm for this development since it appears at around 12 to 18 months (Berger, 270). Konnor stacks the plastic Lego blocks on top of one another with a peer until their desired height. His peer grabs a blue plastic Lego block and throws the plastic block at the stack which causes Konnor to gasp and raise his voice at his peer. A teacher comes over to the two boys to see what the problem was and Konnor says, â€Å"teacher, he throwed the block and ruined this.† while referring to the now tumbled over stack. Konnor shows overregulation which Berger defines as, â€Å"the application of rules of grammar even when expectations occur, making the language seem more â€Å"regular† than it actually is† (272). Konnor shows overregulation by saying â€Å"throwed† instead of the proper past tense term â€Å"threw†. He believes it is the proper  term because he shows that he knows that the letters â€Å"-ed† create a past tense word. At 3 years and 8 months old, Konnor is within the norm for this development since it appears at 3 years old (Berger, 272). Psychosocial Domain: Konnor stacks the plastic Lego blocks on top of one another with a peer until their desired height. His peer grabs a blue plastic Lego block and throws the plastic block at the stack which causes Konnor to gasp and raise his voice at his peer, asking him why he did that. A teacher comes over to the two boys to see what the problem and Konnor explains. Konnor shows emotional regulation which Berger defines as, â€Å"the ability to control when and how emotions are expressed† (289). Konnor shows this behavior because even when he expressed his feelings toward his peer by raising his voice, he knew not to overreact verbally or physically and asked his peer why he did what he did instead. At 3 years and 8 months old, Konnor is within the norm for this development since it appears between the ages 2 and 6 (Berger, 289). As Konnor finishes stirring his brown sugar and vanilla extract in the cup, he looks around the round table where a few of his peers surround them; he sees that they are still stirring their ingredients in their cups. Konnor curves his lips upwards, and raises his cup to his teacher and says, â€Å"look, teacher! I’m done!† the teacher responds with, â€Å"well done, Konnor! Wait for everyone else to finish their dip.† Konnor continues to curve his lips upwards and sits back in his chair while his peers finish mixing. Konnor shows pride which a very positive high concept and self esteem (Ch. 10 PowerPoint). Konnor shows pride once he realizes that he was the first to finish mixing the ingredients together and shows his teacher that he was already finished. At 3 years and 8 months old, Konnor is within the norm for this development since it appears at age 3 (Berger, 290). Konnor stacks the plastic Lego blocks on top of one another with a peer until their desired height. His peer grabs a blue plastic Lego block and throws the plastic block at the stack which causes the stack to tumble over and the blocks scattering around the floor. Konnor gasps and furrows his brow at his peer and says, â€Å"You are mean! I don’t like you!† Konnor shows  antipathy which Berger defines as, â€Å"feelings of dislike or even hatred for another person† (305). Konnor shows antipathy toward his peer right after his peer knocked over their stack of Lego blocks, which required much of their time, by furrowing his brow and raising his voice at his peer. At 3 years and 8 months old, Konnor is not within the norm for this behavior since it appears at age 4 (Berger, 306). Konnor stands beside the tree and watches his peers ride on the tricycles. Konnor furrows his brow and raises his voice saying, â€Å"I want to ride on one!† A teacher walks to Konnor, asking what’s wrong, and Konnor says, â€Å"I want to ride on a tricycle!† Konnor’s teacher explains to Konnor that they are all taken by his peers and that he would have to wait until one is available. Konnor stomps his foot on the ground, continuing to furrow his brow and says, â€Å"No, now!† Konnor walks over to one of his peers who is sitting on his parked tricycle and demands him to get off so he could ride it. His peer tells Konnor that he is riding it, which makes Konnor grasp onto one of the handles and pull it towards his body, causing his peer to raise his voice and call for a teacher’s help. Konnor shows instrumental aggression which Berger defines, â€Å"behavior that hurts someone else because the aggressor wants to get or keep a possession or a privilege† (306). Konnor shows this behavior because he kept raising his voice at his teacher and his peer in order to get what he wanted, which was to ride one of the occupied tricycles, as well as pulling a tricycle towards him from a peer who was already using it. At 3 years and 8 months old, Konnor is within the norm for this behavior since it appears at age 2 (Berger, 306). Play!: Konnor and his peer get on their hands and knees in the sand and begin to shift their bodies to move around the play area. Konnor raises one hand in the air and sways it back and forth as he says, â€Å"roar!† His peer waits until Konnor finishes his ‘roar’ then proceeds to do the same and then continue to crawl around in the sand and raise their voices to, â€Å"roar† together. Konnor shows cooperative play which Berger defines as, â€Å"children play together, creating dramas or taking turns† (296). Konnor shows this behavior since he played with another individual in the act of being an animal and taking turns in roaring and swaying their arms around. At 3 years and 8 months old,  Konnor is within the norm for this behavior since it appears at 3 years old (Berger, 296). Konnor stands across from his peer and throws his hands in the air over his head, furrows his brow and says â€Å"roar! I’m a tiger and I’m going to eat you!† his peer jumps, turns around, and proceeds to run around the play area while his mouth is open and his lips are curved upwards, he says â€Å"you can’t get me!† Konnor runs right behind him, his arms still rose above his head and continues to say, â€Å"Roar!† Konnor shows rough-and-tumble play which Berger defines as, â€Å"play that mimics aggression through wrestling, chasing, or hitting, but in which there is no intent to harm† (296). Konnor shows this behavior by acting like a preying tiger and telling his peer that he will eat him while roaring and then chasing him around the play area. At 3 years and 8 months old, Konnor is within the norm for this behavior since it appears at 3 years old (Berger, 297). Konnor stands across his peer on the wooden play stage and lifts his arms up and roars like an animal with his peer. Konnor throws his hands up above his head and lifts his knees up then stomps his feet across the platform and continues to roar and growl. Konnor stands across his peer and furrows his brow at him, which makes his peer do the same; Konnor then shakes his head from side to side, his arms still above his head and he roars once again. Konnor shows sociodramatic play which Berger defines as, â€Å"pretend play in which children act out various roles and themes in stories that they create† (297). Konnor shows this behavior since he and his peer began to pretend that they were animals on the wooden stage. He and his peer were roaring just as they have probably heard an animal do and also stomp their feet which mimics an animal pouncing. At 3 years and 8 months old, Konnor is within the norm for this behavior since it appears at 2 years old (Berger, 297). Though there was a painting station that gave children the opportunity to sit down and paint whatever they wanted to, Konnor did not take part in the activity during the time I observed him; thus, not showing the behavior of artistic expression. Artistic expression is defined as young children being  imaginative and creative and loving to show it in drawing, dancing and building without being self-critics (Berger, 242). Berger states that the norm for this behavior is 2 years old (242). Reflection: Significance and Application While observing Konnor, I had noticed that there were times that he was much like his peers in many behaviors, and also different than his peers in other behaviors. I believe the preschool has been a major influence on Konnor’s development because when there are acts of good behavior, he is praised and when there are acts of wrongdoing, he is informed of why that is and given time to reflect on his behavior. From the observation and from this assignment, what I’ve learned about child development is that no matter how any child is raised in their own home and environment, they all share many similar attributes behavior wise. Towards the beginning, I was overwhelmed when I saw all of the children running around freely; I didn’t think I could choose just one child, and if I did, I didn’t think that their behaviors and acts of play would suffice. Surprisingly, when observing Konnor and his peers that he would play with, I noticed that they are all much alike even if they show it just a little bit differently than another child. Kids will be kids, as they say.

Social Worker And Social Work Essay - 1076 Words

When starting this course, I had a limited definition of what social work is. My view of social work was based off of movies that portrayed social workers as individuals who only worked with children. In these movies, the social worker was known as the Child Protective Agent and was called in when a child or children were being mistreated. After taking this course, I now know that my idea of a social worker, although right, was only the tip of an iceberg. The social worker does not only work with children, they work within a large social system that includes diverse individuals and communities, to promote change and provide valuable resources. They do this work, while also practicing the values and ethics put in developed by social workers. To be a social worker means having compassion and the ability to make a change in the world through human rights and social justice. As a social worker one has to look at not only how to help an individual who is in need, but also has to look at ways that they could help better that community. This type of social work is known as the social systems perspective. Dubois and Miley (2014) state, â€Å"the social systems perspective is a useful theoretical model for considering the effects of social and economic justice issues and human rights concerns on the transactions between persons and their environments† (p. 60). An example of this perspective is if a father loses his job and his family finds themselves in a financial situation to whereShow MoreRelatedSocial Workers And Social Work Essay1165 Words   |  5 Pages In today`s society, social work as a profession has changed enormously over time. Many interviews, samples and surveys from individuals have been taken over the years about the perception of social workers. 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