Among the most complex human behaviors are not only creative, but researches in the field of creativity, mostly scattered, inconsistent and incoherent and accordingly, this research offers clear application to manage creativity do not offer. This study aimed to unite the scattered and inconsistent literature on creativity in the form of a theory is investigated. exploratory-qualitative approach and methods, meta-analysis, content analysis, four hundred and ninety research during 1950 and 2012 have been conducted on creativity, was studied. Processing data derived from research led to the discovery of the systems theory of creativity. This theory is based on Sls•hmratby variables including size, elements, components and indicators, the literature is sparse and inconsistent unify creativity and innovation phenomenon indicates that the system is composed of multiple dimensions, are how and why. How to express creativity and innovation system inputs or factors affecting creativity that include four factors: personal, professional, and organizational. What is Creativity Creativity refers to the system and consists of three individual creativity, group creativity and organizational creativity. Why creativity reflects the importance and necessity, or what the result will be the creation of systems that include output and outcome factors. The theory of multiple levels of creativity from concept to index system, how, what and why creativity is brought into the picture, we can in terms of creativity, manage. If this theory is that people, especially managers, systems approach helps with the dimensions, factors, components and indicators, to understand why they need? What is creativity? And how can it improve?

To discover the relationship between creativity and emotional intelligence and creativity on the one hand, and the difference between the three groups of students in arts, literature, and sciences, a sample 183 students attending Maazandaraan University was tested using Baron's EQ test, Avreel's test of emotional creativity, and Ranko's thinking behavior scale. Results show that there is no significant difference between three groups of students in emotional intelligence and creativity. However, the arts students were significantly higher in emotional creativity than the other two groups. These results are indicative of the involvement of cognitive processes in emotional intelligence and creativity.

In terms of organizational view, creativity means presenting modern thought and plan to improve the quality or quantity of organization and innovation. Enhancing creativity in organizations can lead to improvement of the quality of services, reduction of costs, prevention of wasting resources, reduction of bureaucracy, enhancement of competition, etc. Innovation can be also considered as objective of creativity and as implemented and materialized form of creativity. Words “creativity” and “innovation” have two distinct concepts; however their concepts are interrelated. This issue of creativity and management is basically related to the effect of creativity in the three managerial arenas: creative management, creative personnel, creative organization. With respect to the importance and necessity constant application of creativity and innovation in organizations and recommendations of the Supreme Leader regarding keeping alive the spirit of creativity and innovation, the present article has been prepared. While examining the role of managers in developing creativity, the present article has pointed to the characteristics of creative managers; and some issues concerning creative personnel and organizations. In the meantime, some innovation and creativity techniques have been mentioned here; and finally while considering the concept behind innovation, some recommendations have been introduced to develop creativity and innovation in organizations.

In this study the relationship among personality traits and emotional creativity and cognitive creativity were investigated. Participants were 206 students (101 male, 105 female) from Shiraz University. Emotional Creativity Inventory was used to assess emotional creativity. Abedi Creativity Test was used to assess cognitive creativity and The Big Five Personality Factors Inventory was used to assess traits personality. The findings confirm the relationship between emotional creativity and cognitive creativity. The results showed that openness to experience, extroversion and agreeableness were positive predictor of emotional creativity and neuroticism was negative predictor cognitive creativity and openness to experience and extroversion were positive predictor of cognitive creativity.

The purpose of this research was to study creativity as an original understanding based on Gadamer's philosophical hermeneutics, and its implications for education. The research method was analytical-deductive. Creativity is one of the highest goals of all educational systems. Different approaches to Psychology, consistent with the general theoretical frameworks and large assumptions that have been accepted, have provided different and sometimes contradictory definitions. However, creativity is certainly a kind of understanding, a genuine understanding that transcends existing Knowledge. The fundamental axis of Gadamer's philosophical hermeneutics is what is understood. In this research, while analyzing Gadamer's view on understanding, he examines creativity as the most original type of understanding from Gadamer's point of view and as an example of his practical wisdom, and principles such as not being able to be trained, the ability to be specific, and measure additionality to creativity from the point of view of Godammer's philosophical hermeneutics as well as educational implications such as education goal, form of educational system, teaching method, curriculum, learning, evaluation, motivation and research method were extracted.

Due to the change، successful organizations are to survive، are forced to take advantage of the creative staff. But enjoying the creativity required to manage the factors influencing the emergence & promotion of creativity is creativity. Such situations in the context of uncertain factors on creativity، composition، such as the period of investigation، quantity، collaboration، referral، governing approaches، pundits & effective & comprehensive investigation is. By using meta-analytic techniques، we studied the results of 424 studies show the impact of the factors that affect the creativity of the early 1950s & has been increasing rate، many researches have been done to a person، the majority researchers have conducted a survey، the majority of one-time factors referred mainly to the literature on creativity، one-dimensional & non-systematic approach to governing. In addition، priority research & researchers، & factors influencing the creative component، is specified.

This paper encourages a new approach to reconsider the current attitude towards creativity in the theories of the creative city, creative industries and creative economy. This reconsideration is necessary, because there is a threat that the individualistic and physiologic approach now arranges the concept of the creative city over any further exploration of creativity and its wider role in the economic, social and cultural environment. Creativity is shown as an issue in the domination of talented artists and geniuses in the theories of the creative city. This individualistic approach leads to ignore the social dimensions, levels, and functions of creativity. However, creativity is increasingly assumed as a social phenomenon in some studies, especially in the context of social groups, organizations, and city. An integrative review of the literature reveals that the engagement in creativity processes occurs not only in individuals, but in individuals interacting with each other, in group and team works, multilevel systems and finally in complex systems such as cities. There is a need to re-conceptualize creativity as a social phenomenon, resulting from the interaction between human beings and other people, their surrounding environment and the artifacts that represent essential collective knowledge. This article offers a conceptual framework for the main processes of social creativity that integrates perspectives from a body of related literature by using a conceptual map. Criteria for social creativity in the context of urban planning can be categorized into three general categories as contextual factors, sustained everyday practices and conscious activities. The most basic requirements of social creativity are the suitable contextual factors (a set of historical, social, cultural, and political conditions) and the existence or creation of motivation in society. Social creativity in urban planning context requires a paradigm shift and change of approach toward creativity from individualistic (physiologic and expert-based) viewpoint to holistic (sociological and people-based) approach. This paradigm shift plays the role of creativity in the larger domain of urban planning discipline and thus the literature of the creative city theory provides the basis for considering it as a social issue. Creative urban planning requires a collaborative, facilitative, and participatory process based on the discourse making among different stockholders and provides the possibility for the local society to accept the role of experts in the process of urban planning. Therefore, this paper discusses the relationship between individual and social creativity and analyzes the need for the social approach in the urban planning. The paper also suggests an agenda for re-qualifying the creative city theory according to this fundamentally social conception, including how this can be achieved through implanting a new concept of social creativity. The findings include a conceptual diagram which shows the analysis and interpretation of the relationship between actors and social creative process, context and the results of creativity. Social creativity requires social action and adopting process-based approach to urban planning, promoting dialogue among actors, participation and everyday experiences. In conclusion, several proposals are offered for the application of concept in the theory of social creativity and creative city.