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]


The limits of this website make it impossible to relate the long history of the trade guilds in any great detail. We must content ourselves with simply casting an eye over the most important dates, periods, and characters in the story.

It is only through documents still extant that we know of the existence of groups of young journeymen who travelled, helped one another, practised rituals in various circumstances, and possessed common attributes and vocabulary. Most of the earliest records of these compagnons (“companions”) are to be found in judicial archives.

Several exist, but not all of them are applicable to the whole body of trades concerned. As regards stonecutters, it seems possible that their organisation into a guild took place quite early on. The building of great edifices required qualified workmen, whom architects went in search of well beyond the construction sites themselves. The fact that workmen travelled across the Kingdom, and sometimes even across its borders, inevitably led to development of mutual assistance, the establishment of regular stopovers during their travels, and the formulation of recognition and reception rituals.

The first Companions’ associations of which we have certain proof made their appearance in the 16th century. From 1514 up until the 1580s, Companion Printers in Lyons and Geneva were organised into protective associations, travelled, went on strike, carried out reception ceremonies and used secret handshakes and other signs of recognition.
1514 to 1580: Journeymen printers in Lyons and Geneva organise themselves into protective associations, travel, go on strike, carry out induction ceremonies, and make use of secret handshakes and recognition signs – the earliest use of ritual known to us.

The 17th century saw divisions spring up between societies, which started experiencing difficulties with the Church.
There are increasing numbers of documents bearing on guilds and concerning a wide range of trades. Many French cities now contain journeymen’s associations. Stonemasons and other workmen leave graffiti – nicknames and drawings of tools – on the Pont du Gard, the spiral staircase at Saint-Gilles-du-Gard, the Temple of Diana in Nîmes, and elsewhere.

In the 18th century, the guild system extended to cover other trades and found itself in conflict with masters of corporations.
Guilds are located in towns along the Loire, in the Maine and Nantes, along the Atlantic coast, and in Garonne, Languedoc, Provence, the Rhone Valley, Burgundy, Champagne and Paris.
Thanks to references made in judicial archives, we can add many further guilds to those already mentioned – tanners/curriers, tawers/chamois-leather dressers, coppersmiths, glaziers, saddlers, roofers, cloth shearers, dyers, ropemakers, edge-toolmakers and blacksmiths, cloth-makers, and plasterers.

In the 19th century, the guild system was faced with the rise of the industry, a drop in numbers of members, and strove to become a more united movement.
Guilds continue to be prohibited under the Empire, but, as the authorities have no real power to prevent them from existing, they content themselves with keeping a close eye on their doings and putting a stop to their “coalitions” (strikes and blacklistings). Brawling between rival societies reaches new heights.

The 20th century saw major reorganisation of the guild system.
Up until 1914, guild members attempt to curb the fall in their numbers by setting up “apprentice protection societies”, responsible for negotiating contracts with companies where apprentices would receive sound training. They also organise professional training courses in a number of cities. There is also reconciliation between the Compagnons du Devoir, the Union Compagnonnique and the Charpentiers du Devoir de Liberté.

The Musée du Compagnonnage opened its doors to the public on Easter Day 1968. We owe its existence to the perseverance of Roger Lecotté (1899-1991), curator of the Bibliothèque Nationale and a specialist in folklore and trade guilds. Beginning his campaign in 1951, he strove to convince guild movements of the necessity of conserving their heritage and presenting it to the public at large.