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]


Who should audition or interview?
High school seniors and transfer students seeking acceptance into the Millikin B.F.A. programs in Acting or Musical Theatre must audition for consideration on one of the dates listed below. All performance auditions (Musical Theatre and Acting) must be completed on or before March 20, 2015. Consideration for Talent Awards will not be extended beyond the final audition date. Please contact the Audition/Interview Coordinator at (217) 424-6282 or at <PRESIDIO_ANONYMIZED_EMAIL_ADDRESS> to set up your audition.

High school seniors and transfer students seeking acceptance into the Millikin B.F.A. programs in Design/Technical, Stage Management or Theatre Administration must interview for consideration. For an appointment please contact the Audition/Interview Coordinator at (217) 424-6282 or at <PRESIDIO_ANONYMIZED_EMAIL_ADDRESS>. Interviews should be completed before the end of the spring semester, May 8, 2015.

Prior to auditioning, all students must first be accepted to Millikin University.
The B.A. degree does not require an audition.

Are auditions/interviews held anywhere else than at Millikin University?
Faculty attend auditions in Plano, TX in November, the Illinois Theatre Association Festival in January, and at the Chicago Academy for the Arts in February. If you are considering auditioning for Millikin at any of these auditions, please contact the Audition/Interview Coordinator at (217) 424-6282 or at <PRESIDIO_ANONYMIZED_EMAIL_ADDRESS>.

If you wish to be considered for the Musical Theatre program you may need to come to Millikin to audition.

Why are song selections at the audition limited to 16 bars for ballad and 32 bars for up-tempo?
The auditioners are listening for the qualities of your singing voice, rather than to the song. These short selections give them ample time to evaluate your singing potential as well as your ability to act the song. Also, 16-32 bars is the basic guideline for professional auditions.

Where can I find titles of musicals and when they were written?
You can go to the website called Musicals101.com. Choose the link that will take you to the Chronology page. There you can see what musicals opened in what year. Click on a decade either prior or post 1960 and you'll find lists of musicals that were written in that era.

Once you find show titles you are familiar with, you can then start looking for songs. Amazon.com is also a good place to help you search because they have short sound files of many Broadway recordings. Type the name of the show in the Amazon search box, click on the link to the original cast recording, then click on the sound bite of the song you'd like to hear. They don't play the entire song, just about a 20 second section, but you should find it helpful in getting the basic idea of what a song sounds like.

Your library or local music store should have books that have the sheet music for the songs.

What are the qualities of a good monologue?
Choose a monologue from a full length published play. Read the whole play so that you know the context of the monologue and the character's situation. Besides picking one in your age range without a regional dialect, pick one where you character is fighting to get something from a specific person, i.e. no dreams, no talking to the audience, no telephone calls, no soliloquy or self-reflective types of monologues. Do not choose monologues that are cited as "original" or written by "anonymous". As with the song, a monologue of 30 seconds is plenty for the auditioners to evaluate your acting potential.

Where can I find monologues?
Read plays. Avoid the monologues published in the many audition monologue books or on-line databases because those monologues are overdone. You might use those books or websites as references to find interesting characters perhaps, but always find and read the full play and then choose a monologue that is not in the published monologue book or on the website. Especially, do not choose monologues that are solo interpretive pieces that are not part of a complete play. These types of monologues may be appropriate for Speech Team competitions, but they are inappropriate for audition monologues.

Why are we asked to avoid regional dialects in our monologue choices?
The auditioners need to hear and to evaluate your real speaking voice without added regional dialects.

What types of scholarships are available?
Students who are pursuing studies in theatre may qualify for either a
College of Fine Arts Scholarship or the prestigious Dean's Scholarship
for Excellence. These scholarships are based on talent and/or academic
achievement and are awarded at the time of your audition, interview and/or portfolio review. These scholarships are renewed each year a student remains enrolled in the College of Fine Arts. Additional CFA Scolarship Information

If a student receives a scholarship, is the scholarship lost if the student doesn't commit to Millikin by the deadlines given?
As is the case with many universities, Millikin's official acceptance deadline is May 1st. At the discretion of the Dean, scholarship offers may be rescinded after the official acceptance deadline.

Are there student work-study positions available in the Theatre and Dance Department?
Yes, there are many work-study positions available in the department and across the university for students. Information is available through the Career Center.

Are students able to major in musical theatre and minor in something else, business, for example?
It's possible, but only encouraged for students with exceptional academic skills, time management abilities, and discipline. Other issues are time and expense. Adding a minor, such as business, may require an additional semester and/or overload fees.

Does Millikin do any touring with its theatre productions?
We do very little touring due to the constraints of the classroom and on-campus production schedules.

Does Millikin bring in any guest artists for the students to work with during the school year?
Yes, any touring dance company that comes to Millikin as a road show does master classes for our students. Other artists are brought in as well. For example, Kari Margolis, Thodos Dance, Alice Ripley and Michael Moschen have all either led student workshops and master classes at Millikin and/or created performance works with students.
Where are current students and alumni working in theatre?
Millikin alumni are working in many different venues: professionally on Broadway, on international and national tours, in regional theater companies, dinner theaters, cruise lines, TV and film. They also perform and teach with children's theatre companies.

For information on some of our alumni success stories, visit our alumni page.

Many current students work during the summer in various different venues gaining important experiences, as well as important networking contacts for their future careers.

Since admission to Millikin University is required before I can schedule an audition, how can I apply?Information for Admission