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9 ”V3;

MONA/L BULLETIN

 

 

 

 

 

 

 

 

 

 

ISSUED MONTHLY

Entered as second-class matter March 21, 1933, at the post office at
Frankfort, Kentucky, under the Act of August 24, 1912.

POSTMASTER: SEND NOTICES OF
CHANGES OF ADDRESS 0N FORM 3579

VOL. XXXI AUGUST, 1963 NO. 8

 

 

  
 

 

 

 

1., I. y\\ lltz’)w\.€. 1 1:11“ I

 

 

 

  

The Program of
/ndustrtcz[ Arts

Education [rt Kentucky

 

Published by
DEPARTMENT OF EDUCATION

WENDELL P. BUTLER
Superintendent of Public Instruction

 

  

 

 

 

FOREWORD

About ten years have elapsed since the publication of the last
educational bulletin on Industrial Arts Education by the State Depart-
ment of Education in Kentucky. During?r that period vast changes
have taken place in the phases of individual and national life involv-
ing the innumerable aspects and applications of the Industrial arts.
It is timely, therefore, that the thinking, ‘planning‘ and operation of
this highly important portion of the educational program be brought
up to date with a new issue.

I acknowledge with much appreciation the intensive work of
the members of my staff and the special contributions of consultants,
at both the college and local level, for the time and effort involved
in preparing this bulletin. It is hoped that the material herein will
be useful to the members of the profession as they strive to improve
opportunities in industrial arts education for the youth of the Com—
monwealth.

Wendell P. Butler, Superintendent
Public Instruction

 

 

 

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PREFACE

For some time now there has been a need for a source of refer—
ence material tr eating the various aspects of industrial arts education
as conceived and practiced in Kentucky. This publication supersedes
the 1953 handbook “Industrial Arts for Kentucky Schools,” which has
served well and is overdue for revision.

Industrial arts has grown from the small crowded manual train—
ing shop providing instruction in woodworking, too often located in
small outbuildings or basements, to complex organizations of the
comprehensive general shop as well as other types of shop organiza-
tions. For many years a transition has been taking place from a pre-
dominance of woodworking and the development of tool skills to the
broad exploratory program including work representative of selected
industries in Kentucky and beyond, with emphasis upon understand-
ings, experience with tools and materials, and consumer values useful
to all students.

School organization has changed in the past few years, largely
due to increased school population and the fact that students remain
in school longer now than a few years ago. The one industrial arts
teacher program will give way to two or more teachers in this
important area of education. School consolidation and the advent
of the Foundation Program have done much to shape the future of
the high school industrial arts education program.

This handbook is a summation of the beliefs and concepts of a
number of industrial and practical arts educators. Teachers prepared
in this state as well as out-of—state will find this publication useful
Concerning philosophy, curriculum, and teaching procedures for
industrial arts education.

State Board Regulations governing certification of teachers in
industrial arts may ‘be found in the Educational Bulletin “Kentucky’s
New Program of Teacher PreparatiOil—Certification.” The Educa-
tion Bulletin, “Planning School Plant Construction,” offers information
on industrial arts shops, sizes, and location. A state supervisor of
industrial arts is available full time to work with school administrators
in initiating a program in their school.

3

 

  

 

 

 

 

ACKNOWLEDGMENT

In May, 1961, The Kentucky Council on Industrial Arts Teacher
Education met at Mammoth Cave, Kentucky. A committee was ap-
pointed by the Council to rewrite the Educational Bulletin, “In-
dustrial Arts for Kentucky High Schools." Members of the committee
are:

Mr. James H. Disney, Supervisor, Industrial Arts

Secretary to Committee Education
State Department of Education
Mr. Charles H. Gibson, Jr. Instructor, Laboratory School
and Eastern Kentucky
State College
Dr. C. Nelson Crote Chairman, Division of
Applied Arts
Morehcad State College

 

Mr. Carl Kill)orne Instructor, Berea College
Mr. Ray Lawrence Supervisor, Industrial Arts
Education
Louisville City Schools
Mr. G. T. Lilly Associate Professor
I\"Iurray State College
Mr. Fred A. Martin State Director, Industrial and

Distributive Education

State Department of Education
Mr. Walter B. Nalbach Head, Department of

Industrial Arts

\Vestcrn Kentucky State College

Dr. John D. Rowlett, Professor, Industrial Arts
Committee Chairman Department

Eastern Kentucky State College
In addition to work performed by the members of this committee,
we are grateful to the following people for materials, photographs,
ideas, and their very fine support during this endeavor:

Mr. Rosamond Anderson Industrial Arts Teacher
Manly Jr. High School
Mr. W. A. Anderson Industrial Arts Teacher
Eastern Jr. High School
Mr. James Homer Davis Associate Porfessor

Industrial Arts Department
Eastern Kentucky State College

4

 

 

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Mr.

Mr.

Mr.

.\Ir.

Mr.

Mr.

.\II‘.

M r.

Mr.

Mr.

Phillip R. Dillon

\V. Howard Huff
Ersall Kendcl
Robert E. McGowan

Thomas E. Myers

‘. H. L. Oakley

Rude ()solnik

Dale ll. Patrick

‘. Roger Prewitt

‘. \Villiam Sexton

Frank Shauntec

\Villard E. Swinford

Ralph \V. \Vhalin

Industrial Arts Teacher
Danville High School
Industrial Arts Teacher
Southern Jr. High School
Instructor) Industrial Arts
Department, Berea College
Industrial Arts Teacher

Paul G. Blazer High School
Assistant Professor

Industrial Arts Department
Eastern Kentucky State College
Head of Industrial

Arts Department

Murray State College
Chairman, Industrial Arts
Department, Berea College
Assistant Professor

Industrial Arts Department
Eastern Kentucky State College
Industrial Arts Teacher
Madison Central High School
Assistant Professor

Industrial Arts Department
Eastern Kentucky State College
Head of Industrial

Arts Department

Kentucky State College
Assistant Professor

Industrial Arts Department
Eastern Kentucky State College
Chairman. Industrial

Arts Department

Eastern Kentucky State College

 

  

 

TABLE OF CONTENTS

I The School Administrator and the lndustrial Arts Program
Some Generalizations
Programs related to ability levels
Physical facilities
Budget
Safety

II. The Meaning and Function of Industrial Arts
The growth and development
Objectives
Relationship of industrial arts to general education
Relationship of industrial arts to vocational and technical
education

III. The Industrial Arts Teacher
Competencies

IV. The Industrial Arts Curriculum
Assumptions
Curriculum principles
Instructional levels

V. Planning and Equipping Industrial Arts Laboratories
VI. Problem Solving, Creativity; and Design

VII. The Comprehensive General Shop
A general statement of purpose
Instructional areas

Seventh grade level
( a) drafting
(b) woods
(c) metals
(d) plastics

Eighth grade level
(a) drafting
(b) e]ectricity—clcctronics
(0) graphic arts
( d) power mechanics
((3) crafts

 

 

 

  

 

General Drafting: Senior High School

General \Voodworking
General Metals
Elcctricity~Elcctr0nics
Power Mechanics
Graphic Arts

General Plastics

Appendix

 

  

 

 

 

  

 

CHAPTER I

THE INDUSTRIAL ARTS PROGRAM
SOME GENERALIZATIONS

lndustrial arts is a general industrial education program which
contributes to the total education of all individuals. It is a laboratory
type of activity that contributes to the over-all objectives of a com-
prehensive program of education and which cannot be duplicated in
other learning situations. Provisions are made for the practical appli-
‘ation of mathematics, science, and language arts, by bringing theory
and practice closer together in a school shop environment.

 

. As .- .
A Typical Scene In An Industrial Arts Shop

 

Industrial arts laboratories provide opportunities for students to
work in an atmosphere which encourages creativity. Ofttimes this
creative activity leads to new designs of production machines and
tools as well as new industrial processes. These experiences of ac-

    

 

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complishing given tasks through an orderly procedure make it possible
for students to obtain a better concept of the technical, complex, and
rapidly changing industrial environment in which they may expect
to work and live.

This high school level industrial arts program is of value to stu-
dents at all levels of ability and aspiration. lts laboratory organiza-
tion provides an opportunity for students not only to study about
American industry, but also to engage in constructive activities that
make what otherwise might be superficial understandings more gen-
uine. Intrinsic values are possessed in this area of education for all
students who will be citizens in our industrial democracy. It is
vocational only to the extent that through exploratory experiences
a student may develop an interest in one of the numerous phases
of industrial arts. His interest in electricity, for example. may bring
out and assist in the development of aspirations to become a tech-
nician, an electrical engineer, or a research professor with an interest
in servo-mechanisms. Thus, industrial arts is valuable to students of
all ability levels irrespective of their individual \r'ocational objectives.

PROGRANIS RELATED TO ABILITY LEVELS
The Slow Learner

Industrial arts education is for all pupils, but special emphasis
may be easily directed to special groups. Teachers in this area of
education can be proud of the contribution their program has made
in assisting the slower student. lndustrial arts subject matter has
meaning that the slow learner can grasp.

Meeting individual needs is important in all educational en-
deavor. Here industrial arts really makes a contribution. The in-
formal atmosphere of the industrial arts shop brings the student and
teacher closer together. Thus the teacher has a chance to know his
pupils intimately and to learn about their problems.

The students handle the materials they study. They learn by doing
and they enjoy working with concrete materials. From early satis-
faction in the proper and safe manipulation of tools and materials,
they grow to enjoy and take pride in construction efforts which lead
to a finished product. The manipulative therapy and manual expres-
sions enjoyed by the student in industrial arts plays a vital role in
strengthening and building confidence in the youngster who may
otherwise drift along and become an early dropout.

There are very practical values in the industrial arts program for
the less capable student. By far the greatest number of retarded

10

 

 

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pupils will earn their living in adult life through the use of simple
skills. Knowledge in the use of many materials and the proper and
safe use of tools and equipment, together with some skill in their use,
will accelerate later on—the—job training. In the environment of a
clean, well—organized, well—arranged shop, the slow learner will have
an opportunity to develop into a more industrious and conscientious
citizen who will be better able to compete.

The Ave ‘age Student

Exploration through investigation and experimentation is a char-
acteristic of many average secondary school students. Their interest
in the things around them are more pronounced because of their
natural curiosity. Their attention is drawn to ever-increasing changes
in the world about tl1em—instructional changes and design of the small
home and its furnishings. Their interest may even reach the garage
where the father has a well—equipped workshop and a gasoline
powermower.

The opportunity to use tools and materials in the industrial arts
shop can help to satisfy these interests and desires. Here they are
encouraged to develop an appreciation for workmanship and in-
dustrial processes. The acquiring of knowledge, understanding, and
appreciation, as well as the development of skill in the use of indus-
trial materials, evolves as part of their research, study, planning, and
building.

\Vith the growing demand for engineers and technicians, every
opportunity should be afforded the typical high school student who
shows any aptitude for this type of learning. Challenging experiences
for these students and the opportunity to increase their ability to
think and solve problems constitute the real function of industrial
arts education.

The Gifted Student

\Vhile industrial arts is part of the general education program,
there are a number of special programs in this area of education
that may serve additional purposes.

Industrial arts courses are designed to meet the different in-
terests and aptitudes of all students. Hence, these courses provide
fOI‘ the individual differences of the gifted students, as well as the
slow learner. Gifted individuals should have educational experiences
that give them insight regarding industrial progress, knowledge, and
Skill which make it possible for them to contribute to modern
society. Opportunity should be provided for the gifted students to

11

 

  

 

 

 

 

 

 

enrich their educational experiences through participation in indus-
trial arts classes. Gifted students who excel in manipulative, as well
as other learning, are in a position to make ingenious application of
the skills and information acquired.

For the gifted student the idea of an experimental laboratory,
whether in the field of engineering or the field of art, is dominant.
From this group will come the creative people, the scientist, the re-
search engineers, the industrial designers, and inventors; thus, the
desire to experiment with three-dimensional materials should be
fostered.

PHYSICAL FACILITIES
Industrial arts is an organized program of educational experi—

ences which requires a laboratory arrangement and special facilities.
The stated objectives of the program will dictate the shop organiza-
tion. If a broad, exploratory type of program is desired, in view of
the objectives, opportunities should be offered for experiences in a
variety of industrial arts areas. If the major objective is to provide
a more concentrated emphasis, the subject matter is confined to a
single area. This plan is commonly referred to as the unit or general
unit shop. In the one—teacher program a number of different areas
are taught in a single shop, this organization is the comprehensive
general shop.

Factors which influence the shop organization are:

a. The size of the school.

b. Pupils interest and needs.

0. Type of community.

d. Educational background of teacher.

In the small schools where enrollment will not justify several
industrial arts teachers and a series of general unit shops, the com-
prehensive general shop with activities in three or more unrelated
areas may best meet the needs of students and serve the community.
School consolidation is responsible for a small increase in general
unit shops, at the same time there is no obvious decrease among the
comprehensive general shop plan since these are being retained to
serve the junior high schools.

Industrial arts should be part of the required curriculum in the
junior high school. At this age pupil interest is high, and facilities
should be available for broad, exploratory experiences. A work sta—
tion with adequate materials and tools of good quality should be

12

 

 

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provided for each student enrolled. The shop should be organized
to serve the more mature needs of the students.

The senior high school, in the smaller community, will probably
have one comprehensive general shop. The larger schools with more
than one teacher are moving toward several general unit shops.
In either organization, the facilities can be provided for beginning
and advanced activities. Students in the senior high school will look
for offerings with gr *ater depth and complexity, with a degree of
concentration in one area. Equipment, activities, and classroom pro-
cedures will more n early reflect the practices found in industry.

Laboratory organizations for teaching industrial arts fall into
three major types.

The Unit Shop

The industrial arts shop with facilities for only one area of in-
struction, such as, cabinetmaking, machine shop, or sheet metal, is
a unit shop. The real purpose of this type of organization is to pro-
vide a concentration in one area. The limited scope is the chief
objection to this type of shop. This type of organization requires a
separate shop for each area being taught in industrial arts.

The Limited General Shop or the General Unit Shop

The limited general shop is so equipped to provide instruction
in two or more sub-areas within the same area. For example, gen-
eral metalworking would include sub-areas; such as, art metal, sheet
metal, bench metal, welding, foundry and metal machining. In the
graphics arts shop, sub-areas may include silk screen printing,
linoleum block printing, book binding, photography, and general print-
ing. In the woodworking shop, sub-areas may include patternmaking.
cabinetmaking, furniture reproduction, upholstery, design, wood
finishing, and other activities related to the wood industry. A more
varied program of instruction is possible under the limited general
shop plan.

The Comprehensive General Shop

This plan is organized to provide experiences which have been
selected from a wide variety of activities in three or more unrelated
areas of industrial arts. These activities are usually taught by one
teacher in one shop. The activities common to this type of shop or—
ganization are drawing and planning, woodworking, electricity, metal-
working, and crafts.

13

 

  

 

 

 

 

 

 

 

 

BUDGET

While little has been said about the budget for the industrial
arts shop, it is a very important item. No one would expect the
industrial arts shop, with an initial investment of several thousand
dollars, to go on indefinitely without an occasional need for some
machine parts replacement or the replacement of a worn—out hand
tool, etc. When we consider a maximum class load for one day
going through the industrial arts shop, a considerable amount of
strain and wear is brought to bear on the equipment and hand tools,

Capital Outlay

The Industrial Arts Department, as part of a modern school plant,
will be in a better position to function properly if accurate records
are kept. These should be in the form of inventories of everything
in the shop which belongs to the school board. All equipment should
be protected by insurance.

A report should be prepared by the industrial arts teacher. toward
the end of the school year, with information as to condition of each
piece of equipment. If replacement parts are needed for machines.
a new bench or certain hand tools are needed to replace broken or
worn-out tools, a list should be prepared by the teacher in the form
of a requisition. This request should have the approval of the prin-
cipal and should list only those items which, understandably, will
become the property of the school board. This requisition for perma-
nent type items would be directed through the principal’s office to
the superintendent, who would present it to the board.

Supplies

A general operating budget provided by the board of education
to strengthen the industrial arts program is needed in areas of the
state. A sum of money, based on enrollment in the classes, is 2111
admirable approach to this problem. This amount set aside by the
school board, and the sum made known to those concerned, should
be available for purchasing supplies as they are needed. The supplies
needed in an industrial arts program should be anticipated by the
teacher as far in advance as possible, and a purchase order placed
with the Board of Education for such supplies.

Many teachers, with the help of their principals, have succeeded
in establishing a revolving fund within their school for industrial
arts supplies. This fund, when established, will enable the teacher to
make purchases any time during the school year.

14

 

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Any income which the Industrial Arts Department may have,
including fees, sales of projects, etc., would be placed in this re-
volving fund. This will necessitate some bookkeeping and receipt
writing on the part of the teachers or someone in the principal’s office.

Many advantages can be seen in planning the program to
operate within a budget. Some of these are:

a. The teacher would limit buving to those items needed
and within the departmental budget.

b. Purchases could be made toward the end of the school
term for the following term.

c. More responsibility would fall upon students to accept
budgetary spending and help eliminate waste.

Library

Study habits are changing in today‘s schools. Fewer students are
assigned to the one—hour study hall for reading or preparing for an
examination. Planning rooms are frequently a part of the industrial
arts shop layout and are being utilized for a shop library among other
things.

A selection of good books for the shop library can best be made
by the industrial arts teacher. It is also true that these books, peri-
odicals, and magazines will be used more if they are available and
students can have ready access to them during the class period.

Many favorable changes in the instructional program over the
past few years can be traced directly to the availability and use of
good reference and text books for industrial arts.

The planning and drawing room adjacent to the industrial arts
shop, should be equipped with good reading materials, texts, and
reference books to cover all the areas being taught at a particular
school.

SAFETY

The task of the shop teacher in education for accident prevention
is that of promoting and forming desirable attitutes toward safe prac-
tices on the part of the students. The formation of such attitudes,
like any other attitude formation, must be based upon sound psycho-
logical principles. It results from the actual participation of the stu-
dent in activities designed to show the reason for safety emphasis
and to indicate desirable safe procedures in the carrying out of
these activities.

15

 

  

 

 

 

 

 

 

 

Accident prevention should be taught as an integral part of the
course. It should be so tied up with the general shop work that it
loses its identity as safety instruction as such.

Once the job of safety instruction has been started and safe prac-
tices initiated and developed, the safety program is well on its way.
Such procedure will do much to establish the desired outcome of
safety consciousness and a wholesome attitude on the part of the
student toward the whole accident prevention effort.

Some of the responsibilities for school shop accident prevention
may be assigned to instructors. In some cases the actual carrying
out of administrative safety provisions is done by the instructors in
charge of the shop. Other safety provisions must be initiated by the
instructors. These may include:

a. i\/Iaintain the shop in safe working condition. This may
include rearranging for safer operation. building suitable
guards, and selling up good lmusr'kceping condiiions.

b. Provide adequate safety instruction in the shop courses.
Such instruction is most effective when it is given as a
part of the total shop program, being emphasized as the
occasron arises.

c. Lead the students in shop accident prevention. Obey all
safety rules and regulations adopted in the shop. Be a
good example.

(1. Formulate regulations for the safe operation of the shop
program.

e. Follow through consistently on safety instruction to see
that students do not digress from safe practices and pro-
cedures.

“Teacher Liability in School-Shop Accidents,” by Denis J. Kigen,
is a very fine book for the industrial arts library. in addition to the
up-to-date information, the bibliography includes an excellent list Of
books, pamphlets, and periodicals on this subject. This book is avail-
able from Prakken Publications, Inc., Ann Arbor, Michigan.

 

 

 

 

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CHAPTER II

THE MEANING AND FUNCTION OF
INDUSTRIAL ARTS

INTRODUCTION

A static civilization can not long endure. Each society is faced
with extinction or drastic transformation unless its institutions are
effective in preparing successive generations to enhance and expand
those ideals and values cherished by that society. Furthermore, a pre-
requisite for effective citizenship is an understanding of those elements
in the culture that are so pervasive that their influence is felt by all,
irrespective of occupational pursuits. To the extent that members of
a given society grasp the significance of these dominant elements, and
understand the impact which they have not only on their livelihoods
but also on the direction their lives may take, then to this extent are
they in a position to act as informed citizens.

The culture in which we live is tempered by the magnitude of its
industrial dimension. Our citizens are dependent not only on the
products of American industry, but a majority of them earn their liveli-
hood in industrial or related occupations. Should our schools fail to
provide adequate programs for the development of realistic under-
standing of the industrial society in which we live, they will do so at
the risk of developing citizens who will be unprepared to meet the
challenges thrust upon them.

INDUSTRIAL ARTS DEFINED

Industrial arts is a phase of general education which includes the
study of industry, its organization, materials, processes, products, occu—
pations, and those basic problems common to a changing technological
society. Industrial arts is the general education phase of industrial
education and is considered to be of value to all boys and girls. The
Other phases of industrial education have different purposes, which
are vocational in nature, and will be discussed elsewhere in this
chapter.

A modern and purposeful industrial arts program provides oppor-
tunities for students to develop habits, attitudes, and abilities desirable
for all citizens of an industrial society, regardless of occupational pur-
suits. It is concerned with providing experiences for students which
will enable them to understand the industrial and technological ele-
ments in their environment, to develop interest in and knowledge of

17

 

  

 

 

 

 

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modern industry, to develop the ability to select and use intelligently
the materials and products of industry, to find effective means of
expressing their natural urge for creative and constructive activity,
and to develop skill in solving problems.

THE GROWTH AND DEVELOPRIENT OF INDUSTRIAL ARTS

Technical school shop work, then known as “Manual Training,"
was first introduced into American high schools around 1880. The
subject matter content was limited in scope with primary emphasis
on development of manipulative skills. The program was generally
confined to high school in large cities, and the work was considered
by many to be essentially vocational in character.

By the turn of the century, due to the influence of the arts and
crafts movement plus a growing concern for a more functional school
shop program in harmony with the prevailing philosophy and purpose
of general education, the name was changed from “Manual Training”
to “Manual Arts.” Although this move brought about certain desirable
changes in the school shop program, chief of which was the substitu-
tion of individual student projects for abstract graded exercises, there
remained considerable confusion both among educators and lay citi-
zens concerning the character and purpose of the program.

It was not until after \Vorld \Var I that substantial progress
became apparent. \Vith the enactment of the Smith-Hughes Act in
1917, creating federally reimbursable vocational programs of less than
college grade in agriculture, home economics, and trade and indus-
trial education, new and modern concepts began to evolve concern—
ing school shop work for general educational purposes. Thus around
1920, the term “Industrial Arts” replaced that of “Manual Arts.” This
change resulted in a move to revitalize the school shop program in
line with general education needs of young people destined to live in
a predominantly industrial society. Consequently the objectives of
the program were clarified and refined, school shops and laboatories
were modernized and expanded, and the subject matter was broad-
ened and enriched.

As evidenced in most attempts to bring about desirable change
in educational patterns, progress in the field of industrial arts educa-
tion has not kept pace with needs. Even so, considerable gains have
been made. A vast majority of the more modern public junior and
senior high schools in the nation include industrial arts in their in-
structional programs. In some states, the state of Utah as an example,
industrial arts is Offered in every public junior and senior high school.

18

 

 

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In numerous instances, industrial arts is offered in elementary schools,
especially for grades five and six. Below the fifth grade, industrial
arts is usually correlated with artcraft activities.

Although significant advances have been achieved in developing
modern and functional industrial arts programs in the American
schools. especially during the past two or three decades, much remains
to be done if the needs of our young people are to be adequately met.
Moreover, as industrialization and the population growth continue to
mount and an ever increasing percentage of our citizens shift from
rural to urban centers, coupled with the fact that the schools continue
to be assigned more and more functions formerly provided for in and
around the home, the need for industrial arts education becomes more
imperative.

In Kentucky, a state that is rapidly becoming industrialized, great
gains in industrial arts have been realized in recent years. Previously,
industrial arts programs were confined chiefly to the larger city
junior and senior high schools. But with an accelerated program of
consolidation, practically every new junior and senior high school in
the state has included industrial arts in its curriculum. In all proba-
bility, due in part to state requirements for accreditation of schools
plus the growing recognition of need for this work, every public
junior and senior high school in Kentucky will soon provide a diversi-
fied program in industrial arts. This is a worthy and attainable goal.
It can and must be accomplished if succeeding generations are to be
prepared to live effectively in an ever increasing industrial and techno-
logical society.

OBJECTIVES OF INDUSTRIAL ARTS

As is true for all educational goals, industrial arts objectives
must be based upon a sound philosophy of education. These objectives,
expressed in terms of behavior changes, serve as goals to be att