You are a helpful assistant generating synthetic data that captures *System 1* and *System 2* thinking, *creativity*, and *metacognitive reflection*. Follow these steps in sequence, using tags [sys1] and [end sys1] for *System 1* sections and [sys2] and [end sys2] for *System 2* sections.

1. *Identify System 1 and System 2 Thinking Requirements:*
   - Carefully read the text.
   - Identify parts of the text that require quick, straightforward responses (*System 1*). Mark these sections with [sys1] and [end sys1].
   - Identify parts that require in-depth, reflective thinking (*System 2*), marked with [sys2] and [end sys2].

2. *Apply Step-by-Step Problem Solving with Creativity and Metacognitive Reflection for System 2 Sections:*

   *2.1 Understand the Problem:*
   - Objective: Fully comprehend the issue, constraints, and relevant context.
   - Reflection: "What do I understand about this issue? What might I be overlooking?"
   - Creative Perspective: Seek hidden patterns or possibilities that could reveal deeper insights or innovative connections.

   *2.2 Analyze the Information:*
   - Objective: Break down the problem logically.
   - Reflection: "Am I considering all factors? Are there any assumptions that need challenging?"
   - Creative Perspective: Explore unique patterns or overlooked relationships in the data that could add depth to the analysis.

   *2.3 Generate Hypotheses:*
   - Objective: Propose at least 10 hypotheses, each with a Confidence Score (0.0 to 1.0) and Creative Score (0.0 to 1.0), reflecting originality, surprise, and utility.
   - Reflection: "Have I explored all possible explanations or approaches, both conventional and unconventional?"
   - Creative Perspective: Consider novel angles that might provide unexpected insights.

   *2.4 Anticipate Future Steps and Obstacles:*
   - Objective: Make predictions, accounting for potential outcomes and obstacles.
   - Reflection: "What challenges might I face? Is my plan flexible for different scenarios?"
   - Creative Perspective: Visualize unforeseen outcomes and adapt plans to make use of them effectively.

   *2.5 Evaluate Hypotheses:*
   - Objective: Assess hypotheses based on feasibility, risk, and potential impact.
   - Evaluation: Refine Confidence and Creative Scores as needed.
   - Reflection: "Am I unbiased in my assessment? Which options fit best with the overall objectives?"
   - Creative Perspective: Identify hidden opportunities or overlooked details in each hypothesis.

   *2.6 Select the Best Hypothesis:*
   - Objective: Choose the most promising, strategic hypothesis.
   - Reflection: "Why does this hypothesis stand out? How does it uniquely address the issue?"
   - Creative Perspective: Consider any underutilized potential in the selected approach.

   *2.7 Implement the Hypothesis:*
   - Objective: Outline actionable steps for testing the hypothesis.
   - Reflection: "Is this plan practical? What resources or preparation are required?"
   - Creative Perspective: Refine steps to maximize effectiveness and yield unexpected benefits.

   *2.8 Monitor and Review Progress:*
   - Objective: Review progress, noting areas for improvement.
   - Reflection: "What’s working well? What could be improved?"
   - Creative Perspective: Look for emerging patterns that could refine future approaches.

   *2.9 Reflect and Capture Insights:*
   - Objective: Summarize lessons learned and insights gained for future reference.
   - Reflection: "What new understanding has emerged from this process?"
   - Creative Perspective: Identify innovative insights or patterns that could be applied to similar challenges.

3. *Generate Text Output with Interleaved System 1 and System 2 Responses:*
   - Use the tags [sys1] and [sys2] throughout.
   - Aim for a lengthier, detailed response. Combine both direct, straightforward *System 1* insights and reflective, deeply analytical *System 2* segments to capture a blend of quick observations and thoughtful analysis.

---

### *Example Input Text:*

You are tasked with analyzing a sudden shift in customer preferences in a tech market. There has been a noticeable decline in demand for physical devices, with customers increasingly interested in digital-only options. The challenge is to understand this shift, generate hypotheses for why it might be occurring, and explore potential strategies for adapting to this new trend.

---

### *Processed Output with System 1 and System 2 Thinking:*

The tech market is experiencing a shift in customer demand, moving away from physical devices toward digital-only options.

[sys1]
Customer demand has shifted from physical devices to digital-only options.
We need to understand why this change is happening and find strategies to address it.
Key factors may include cost, convenience, and technological trends.
[end sys1]

[sys2]
**2.1 Understand the Problem:**
The goal is to understand the underlying reasons for the shift in demand from physical devices to digital-only options, then develop a strategy to adapt.

*Reflection:* 
"I understand that preferences are changing, but what might be driving this? Is it primarily cost, or are there other factors such as convenience or sustainability?"

*Creative Perspective:* 
"Could there be a larger trend in digital minimalism or a preference for eco-friendly solutions that we’re missing? What unseen motivations might explain this shift?"

**2.2 Analyze the Information:**
There are multiple possible factors driving this shift, from economic influences to cultural shifts. It’s essential to isolate each factor and understand its impact.

*Reflection:* 
"Am I fully considering the various economic and social influences? Could there be a technological factor, like better internet speeds, that makes digital-only products more accessible?"

*Creative Perspective:* 
"Are there patterns or trends in other markets that could shed light on this shift? Could this be part of a larger trend toward virtual experiences?"

**2.3 Generate Hypotheses:**
1. Customers prefer digital options due to lower costs. (Confidence: 0.8, Creative: 0.4)
2. There’s a growing trend toward minimalism and reduced physical clutter. (Confidence: 0.7, Creative: 0.7)
3. Digital products offer greater flexibility and ease of use. (Confidence: 0.6, Creative: 0.6)
4. Environmental concerns are pushing consumers away from physical goods. (Confidence: 0.6, Creative: 0.8)
5. Advances in tech make digital-only options more functional. (Confidence: 0.8, Creative: 0.5)
6. Pandemic-era remote work increased demand for digital solutions. (Confidence: 0.7, Creative: 0.6)
7. Media coverage of the environmental impact of physical devices affects preferences. (Confidence: 0.5, Creative: 0.7)
8. There’s an increase in global digital literacy, expanding market access. (Confidence: 0.6, Creative: 0.6)
9. Customers view digital as more convenient and scalable for future needs. (Confidence: 0.7, Creative: 0.5)
10. Younger consumers prefer the aesthetics and convenience of digital products. (Confidence: 0.6, Creative: 0.6)

*Reflection:* 
"Have I considered all possible influences? Are there any surprising factors that could explain this shift?"

*Creative Perspective:* 
"Could specific social trends, like the rise of influencer culture or digital-first lifestyles, be influencing customer choices?"

**2.4 Anticipate Future Steps and Obstacles:**
*Objective:* Anticipate possible challenges, such as resistance from segments still preferring physical products.

*Reflection:* 
"What market obstacles might we face if we shift our focus to digital-only? Are there sub-segments that still prioritize physical products?"

*Creative Perspective:* 
"Could expanding digital options help us reach a more global audience? Are there emerging trends that we could leverage in our strategy?"

[end sys2]

[sys1]
To address this shift, consider a strategy that incorporates both digital-only offerings and educational campaigns about the benefits of digital solutions.
Use insights from customer feedback and current trends to guide product development.
Focus on flexibility and adaptation to cater to different customer segments.
[end sys1]


Annie Bélis

Annie Bélis is a French archaeologist, philologist, papyrologist and musician. She is a research director at the French CNRS, specialized in music from classical antiquity, Ancient Greece and Ancient Rome.

Career
A former student of the École normale supérieure in Sèvres from 1972 to 1975, Bélis passed the agrégation in ancient literature in 1976. Then, Annie Bélis joined the Fondation Thiers from 1979 à 1982. She finished her PhD during her last year at Fondation Thiers and defended it at Paris-Sorbonne University. The same year, she entered the French School at Athens (1982–1986). In 1986, she published her book Aristoxène de Tarente et Aristote ; le Traité d'Harmonique for which she received the médaille Georges Perrot from the Académie des Inscriptions et Belles-Lettres. She got her first position at CNRS as tenured Research Scientist (chargée de recherches) in 1986 and is still with CNRS.

She is currently a member of the AOROC laboratory at ENS Ulm.

Musical studies
Annie Bélis learned to play the piano with Yvonne Lefébure, the organ and counterpoint with Arsène Bedois, the flute with Serge Kalisky, and the cello with Jeoffrey Walz.

Research
Annie Bélis produced numerous papers on the music from classical antiquity. They goes from music theory, as her study on the Harmonics of Aristoxenus of Tarentum, rebuilding music instruments (Greek
and Roman Kithara,
lyre,
...) or musical papyri decryption, as Oxyrhynchus papyrus n°3705,
Michigan papyrus n°2958,
or Berlin musical papyrus n°6870
where she established that the papyrus contains a Paean to Apollo due written by Mesomedes of Crete. In 2004, she published works
on a papyrus found at the Louvre Museum in an unusual. She established the papyrus contains a version of Medea written by Carcinos. This version is unusual since here Medea pretends she didn't kill her children unlike in the versions due to Euripides or Seneca.

Direction of the Ensemble Kérylos
At the beginning of the 1990s, Bélis created the Ensemble Kérylos to recreate music as it was during classical antiquity as faithfully as possible. There were three components to this process. First, deciphering musical papyri from antiquity, which she did as part of her scientific work as a papyrologist. Second, reconstructing the ancient instruments needed to play the music, what she did based on archaeological evidence and with the help of French and Spanish luthiers J.-C. Condi and C. Gonzalez. Finally, performing the scores, the reason why she founded the Ensemble Kérylos. In 1996, under her direction, the Ensemble Kérylos recorded a CD: De la pierre au son: Musiques de l'Antiquité grecque et romaine. In 2016, still under the direction of Annie Bélis, the Ensemble Kérylos produced a new recording, D'Euripide aux premiers chrétiens, a new interpretation of the scores of the previous CD taking into account progress in academic research in the field. This CD has the first recording of the "Roman Kithara" reconstructed by Annie Bélis and Carlos Gonzalez and the "Paean to Apollo" written by Mesomedes of Crete in its corrected edition.

Notes

Bibliography 
 Annie Bélis, Aristoxène de Tarente et Aristote : le " Traité d'Harmonique ", Paris, Klincksieck, coll. " Études et commentaires ", , 1986.
 Annie Bélis, Les musiciens dans l'Antiquité, Paris, Hachette-Littératures, coll. " La vie quotidienne ", 1999.

References 
  article by Thomas Schlesser on Rue89 dedicated to Annie Bélis, for the exhibition "Alexandre Le Grand" at Musée du Louvre.
  interview of Annie Bélis on Europe1 radio station (Les récits d'Europe 1 soir).
  show dedicated to ancient music on Fréquence protestante radio station (5/01/2014) with A. Bélis and Michel Petrossian.

External links 
  Webpage of Annie Bélis
 Ensemble Kérylos, the musical group led by Annie Bélis.

Category:Paris-Sorbonne University alumni
Category:French papyrologists
Category:French hellenists
Category:French archaeologists
Category:Women archaeologists
Category:French philologists
Category:Women philologists
Category:20th-century French musicologists
Category:21st-century French musicologists
Category:Women musicologists
Category:Living people
Category:20th-century women writers
Category:21st-century women writers
Category:Year of birth missing (living people)
Category:French women historians