Background: Creativity is one of the most interesting and challenging topic in different scientific fields, especially in education and psychology. In this period of history as a major power in the human mind, the main purpose of schools and educational centers.Objective: This research examines the effect of Creative problem solving method to creativity components (fluid, expansion, flexibility and originality) Third-grade students Ahwaz.Method (s): The study sample of 50 third grade secondary school students in Ahvaz city in the 90-91 school year as a cluster random sampling, which divided into two groups of experimental and control group. The dependent variable to measure creativity, Torrance Tests of Creative Thinking (TTCT) is used. The research design was experimental of the type pre and post test with control group. After random selection of experimental and control group, first for all two groups, pre test was performed, than the pilot intervention in 8 sessions of 70-90minutes to the test group were presented and after the training program, post-test was taken for both groups.Result (s): One-way analysis of covariance method (Ancova) at the level of p<0.05 was used. Results showed that there is a significant difference between control and treatment groups in components of creativity (fluid, flexibility and originality).Conclusion: Accordingly we can conclude that the training of Creative problem solving can be Creative component (fluid, originality and flexibility) students increased.

Digital transformation has significantly impacted various industries in recent decades. In Creative industries, digitalization has emerged as a key factor in shaping entrepreneurial strategies. This study aims to examine how digitalization affects entrepreneurial strategies in Creative industries. This research utilized a qualitative approach through semi-structured interviews with entrepreneurs in Creative industries. The study revealed that digitalization has facilitated the creation of new business opportunities while also presenting challenges for entrepreneurs. Additionally, it highlighted the role of entrepreneurial ecosystems in supporting sustainable growth in Creative industries. The findings suggest that digitalization can enhance innovation and sustainable development in Creative industries, provided that entrepreneurs are equipped with new approaches to address existing challenges.

The Creative city concept has been derived from this field researchers and theorist consideration to the environmental and spatial dimension of creativity. Various indexes have been provided to measuring cities creativity that in all of them, the conditions and features of society has been considered. In this regard, the aim of this study is making a Creative city index appropriate for Iranian culture. This study in term of modality is descriptive-analytical, and in term of purpose is a practical research. For data collection, the library, documentary and survey method in form of the Delphi method is used. In next step, with reviewing 15 international Creative city index, a list of indicators extracted, then using Delphi method and screening indicators and measures, the Iranian Creative city index has been created. The result of Delphi method in three round was the confirmation of 49 measure by Delphi panel members for making Iranian Creative city index that from these 49 measure, the 32 measure was drawn from previous studies and 17 measure was provided by Delphi method members.

This study sought to identify and describe social communication methods used in terms of cultural signification by tourists and the host community in Chaharbagh Avenue, Isfahan, Iran. To this end, a qualitative approach was adopted, using the meaning coordination management model as the theoretical framework. The population of the study comprised the residents of Isfahan City, among whom thirty people were selected through purposive sampling until theoretical saturation was achieved. The required data were collected via participatory observation and semi-structured interviews, which were then analyzed through content analysis, and open and axial coding. The study’s findings indicated that while the majority of Isfahani people expressed a positive attitude concerning the presence of tourists and establishing communication with them in Chaharbagh Avenue, poor Creative hardware and software infrastructure in street communication, lack of coordination among policymakers, planners, and operational units in establishing effective communication and failing to consider creativity in redefining the third generation tourism products have prevented the avenue to gain a desired position in terms of tourism success. However, it could generally be argued that the residents of Isfahan City (as the host community) had a favorable attitude towards making effective communications with tourists in Chaharbagh Avenue.

The subjective steps of creativity process i.e. "insight", "preparation", "incubation", "intuition", and "verification" based on Wallace Model was proposed after defining creation; They were discussed and suggested that these steps cannot be taught. But the objective steps of creativity process i.e. "combination", "mutation", "analogy", "first principle" (Another Creative design method with similar potential has been added to the list, which is widely accepted, is a useful objective model of Creative design) and "emergence" in a form of an instructional and designing practice were studied. The mutation, in which a novel concept emerges- perhaps quite suddenly- as a potential design solution, is widely regarded as a characteristic feature of Creative design. This paper is based on an example of a Mutation which occurred during a recorded study of the activity of a small design team. The characteristics and context of this Mutation are reconstructed from the recorded material. It is concluded that the perceptual act underlying Creative insight in design is more akin to bridging than leaping the gap between problem and solution. Creative design as mutation involves modifying the form of some particular features, of an existing design. Mutation procedure involves recognizing the existing constructive features and modifying them afterwards. In this practice, mutation includes recognition of inefficiency of the last form of fabric cupola which is provided by the student's adding glass at the ceiling. This is an important step in the formation of ideas.In this practice, learning is examined at three steps: Active learning is the first which is a quick glance at the obligations that are mainly acquired through examination of the samples of Iranian architecture and demonstration of photos. The second is "Passive learning" in which the student progresses through making Knowledge Bridge with the professor and is often guided through discussion and asking questions. The third step is "Reflective" in which the novice offers his mental recognitions and implicit findings for the evaluation of the results of his work and improvement of his skills.The novice should get engaged in imitation in order to reflect the behavioral feedback of the instructor. The instructors should also observe the reflective behavior of the novice. They must observe reflectively and improve or add to their instruction until they make sure that the novice's behavior is convergent. The difference between the skill of a novice and that of an expert is "a gap to be bridged by an intelligent effort". This paper is not attempting to devalue the experience of working with a master, only to refocus where its value lies. The important point concerning learning is one of access to practice as resource for learning, rather than instruction. And this access to practice needs to include more than just access to master teacher. Involvement in a participatory support and critique in the practice is necessary to enable students to evaluate and improve the quality of their work, Through the whole paper, problem solving area is considered more significant in which the student is mostly discovering than innovating.

Educational systems require optimal educational methods to achieve their large scale goals and promote Creative thinking. This study aimed to propose a rhizomatic model for training Creative thinking. This mixed-methods exploratory research proposed and approved a model. The rhizomatic model was designed and presented qualitatively, and then implemented via a quantitative quasi-experimental design. In the quantitative phase, the statistical population comprised all the sixth-grade male students in state-run schools of Sahneh (Iran) in the academic year 2018-2019. A sample was selected purposively from two classes in this city. A class of 34 students served as the experimental group, and another class of 34 as the control group. The data collection tool was Schaeffer’s Creative Attitude Survey. The analysis of covariance demonstrated the model's influence on the students’ Creative thinking growth Introduction: Research indicates that teachers, from kindergarten to high school, have diminished students’ creativity over the past two decades because creativity is associated with nonconformity, impulsivity, and disruption of class activities (Shahalizadeh et al., 2014). Educational authorities must, therefore, focus on the improvement of creativity in teachers and students (Magdalena and Krzysztof, 2013, pp. 18-19). Post-structuralist philosophers Deleuze and Guattari believe that thinking used to be tree-like, vertical, and hierarchical in the past,in the contemporary world, however, it is rhizomatic and horizontal (Raeesi, Mahmoudi, and Oveisi Kahkha, 2019). In rhizomatic thinking, the educational setting is open to new ideas. Learners grow through discussion, curiosity, and participation in learning, and teachers act as guides or facilitators in students’ process of discovery (Charney, 2017). Zamani (2020), Shakoori Monfared and Ardalani (2020), Sajjadi and Baghernejad (2011), Selahshoori and Haghverdi (2015), Ahmadabadi, Farajollahi, and Abollahyar (2017) studied rhizomatic education and its relationship with creativity, the curricula, education, philosophy, and epistemology. According to what was stated, a close tie between rhizomatic thinking and creativity has been established. The present study aimed to identify and document the dimensions and components of the educational model of rhizomatic thinking, and then assess the model's impact on the creativity of sixth-grade students in the Experimental Sciences course. This study addressed the following questions: What are the dimensions and components of rhizomatic education? Does the rhizomatic educational model promote students’ Creative thinking? Methodology: This was a mixed-methods research. Herein, based on the research objectives and questions, the two-phase exploratory sequential design of the theory-building type was deemed to be the best design. In the qualitative phase, the relevant literature was analyzed with a review of the theoretical foundations using deductive content analysis, and the rhizomatic education model was extracted. Due to the plurality of sources, a sample of accessible print and digital documents was purposively selected. The data were collected via note-taking. After extracting the initial concepts, semi-structured interviews were conducted with six experts to develop the rhizomatic thinking educational model. Confirmability and credibility were adopted to validate the results through triangulation. Inter-rater agreement served as a reliability measure. Then, the data were analyzed by thematic analysis. In the quantitative phase, a quasi-experimental pretest-posttest design was employed. The statistical population comprised all the sixth-grade male students in state-run schools of Sahneh (Iran) in the academic year 2018-2019. Two classes were purposively selected as the sample. A class of 34 students taking the Experimental Sciences course served as the experimental group, and another class of 34 as the control group. The experimental group was educated based on the educational model (rhizomatic content and method) in three sessions, while the control group received conventional education (conventional content and method). The data collection tool was Schaeffer’s Creative Attitude Survey. To assess the reliability of the test, a Cronbach's alpha of 0. 82 was calculated based on the scores of 26 students. The data were analyzed via multivariate analysis of covariance (MANCOVA). Results: The first question was qualitatively answered. Among the limited resources and documents available on rhizomatic thinking (two specialized books, two theses/dissertations, and 11 research articles on rhizomatic education), 129 statements were extracted upon an in-depth review,then, 17 basic themes and six organizing themes were extracted: methodological thinking, design thinking, deconstructive thinking, Creative thinking, conflicts, and the concept of communication. In the quantitative phase, a univariate analysis of covariance (ANCOVA) was run in SPSS 22 to assess the research hypotheses. The mean ± SD of the pretest scores of creativity were 12. 44 ± 3. 72 and 11. 64 ± 3. 32 in the experimental and control groups, respectively. The mean ± SD of the posttest scores of creativity were 17. 79 ± 4. 47 and 12. 05 ± 3. 65 in the experimental and control groups, respectively. The F value was not significant at the 0. 05 level on pretest in the two groups (F = 2. 005, df = 1), yet it was significant at the 0. 0001 level on posttest in the two groups (F = 35. 53, df = 1, p > 0. 0001) (Table 1). Therefore, the rhizomatic educational model affects students’ creativity. For a closer examination of mean and SD, the gains made by each group are presented in Table 2. Table 2 demonstrates the higher mean gains made by the experimental compared to the control group, and this difference was significant (t = 2. 66, df = 66, p > 0. 0008). Although the means of both groups increased on the posttest, the magnitude of this increase was greater in the experimental than that in the control group. Discussion and Conclusion: In this study, we designed and presented a rhizomatic-based educational model and assessed its effects on the Creative thinking of the sixth-grade male students. In the first phase, the rhizomatic educational model was qualitatively designed and presented. In the second phase, the magnitude of the effect of this model on students’ Creative thinking growth was assessed via a quasi-experimental quantitative design. The findings revealed that creativity was enhanced in the group educated based on the rhizomatic model. This finding is consistent with the results reported by Cronje (2018), Wilson (2018), Zamani (2020), Shakoori Monfared and Ardalani (2020), Abdollahyar, Sobhaninejad, and Farmihani (2019), Ahmadabadi Arani, Farajollahi, and Abdollahyar (2017), Selahshoori and Haghverdi (2015). Implications of this study include: 1. More educational courses can be offered to teachers and students to familiarize them with rhizomatic thinking-based education so that they can accurately implement it. 2. The school and class setting can be adapted to the dimensions, components, and skills of rhizomatic education.

The effectiveness of Creative drama on social development of preschoolers was studied. Using multi-stage cluster sampling method, 30 children (16 girls and 14 boys) aged 5 to 6 years old were selected from Tehran preschools and randomly divided into an experimental (n=15) and a control group (n=15). During a period of five weeks the experimental group participated in two one-hour weekly sessions of Creative drama activities. Using Winelend Social Growth Scale (Wineland, 1984), the social development scores of two groups were assessed as pretest, posttest and follow-up (after two months). Covariance analysis of data showed that Creative drama significantly increased social development of preschoolers. Furthermore, t test results revealed the effect of intervention did not last until the follow-up stage. The findings discuss how Creative drama activities affect the social development of preschoolers.