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]


Thursday, January 20, 2011

The right time to plan the rearrangement of a bed of Bearded Irises is not when one goes to purchase new varieties in December, or when one starts to lift and divide up an old-established bed. To leave the choice of new varieties and new colour schemes until planting time is to rely on a memory of colours. Even when one has a keen colour sense and a good memory, it is next to impossible to avoid at least some mistake, and a single mistake in placing different colours, even if it does not jar badly, will bring a feeling of regret.Very often one hears the remark, "I wish I hadn't planted THAT variety against THIS variety," or "I wish I had placed a yellow or cream among that group. It would have lightened the whole planting." Such repining and regrets are easily avoided if one plans a little while the irises are in flower in November. If the bed is to be altered in its colour scheme, plan the alterations while you have the blooms to guide you. The modern Bearded Iris has such endless variations of both colour and tone. It is not enough to plan, for instance, to put a blue next to that pink.Decide while you can, WHICH blue will give the best effect. Done at flowering time the work of planning the new planting is not a task but an enjoyment.Even when it is not intended to lift and replant the whole bed, one often sees, if one takes the thought to look and compare, just how the planting may be made more attractive, by adding one variety to this corner, planting another lighter tone in the background, or removing one variety to another position. After all, colour is a very comparative commodity. We designate a flower "blue" or "pink." Place the blue against a white and it looks very blue; place it against another blue and it may appear lavender or purple. Again the pink may appear a true pink against a warm cream or a blue, but lavender against a salmon or pink and gold blend. Still again, in the matter of contrasts, a great deal of the ultimate colour effect depends on the TONE of the contrasting colours. Depth or lightness of colour tone is all important in producing colour symphonies.There are, of course, general rules to guide us, but these rules are far from infallible, and even if they do not lead us into pitfalls, it is just a matter of luck if we avoid that impersonal, characterless grouping one too often sees in garden colour colourful contrast, one must also keep in mind that 'Joanna' on the one side, and 'Golden Hind' on the other, will be in conjunction with other varieties. That is, perhaps, not so hard, but remember also, what is going behind, and what, if any, are going into the foreground.Tall varieties, as a matter of course, will go into background, where I have found it useful to remember to plant a good quantity of light or pale shades. 'Magnolia' (cream), 'Pink Advance', 'California Gold', 'Cedar' (pinky bronze), 'Golden Treasure' (light gold and cream), 'Pink Opal' (lilac), 'Miss California' (pink), 'Pale Moonlight' (silvery blue), and 'Winter Carnival' (giant flaring white) make ideal background varieties. Rich colours, such as 'Sierra Blue', 'The Red Douglas' (wine red), 'Richmond' (rosy carmine), 'Milson' (brown and crimson), 'Crimson Banner' (crimson), 'Dark Knight' (mahogany) and 'Destiny' (black-purple and bronze), being tall, must also go into the background, but should not be grouped together, but planted with the lighter tones to brighten and enhance their colours.The middle background gives the gardener the greatest scope, and the planning and selection here will give the main character and colour effect. This is the situation for the bright colours, and here one may let himself go with pleasing contrasts. Trial will confirm some surprisingly good effects. Not having thought of it, I was surprised to find Rangitikei and Inspiration very pleasing planted with 'California Gold', also 'Rangitikei' and 'Golden Hind'. Dark rich tones, such as 'Joanna', 'The Black Douglas', 'Destiny', 'Sable', require very rich gold’s to adequately lighten and display them, while light pinks, lilacs, light blues, and blends, look infinitely better if their foils are also light toned. In other words, in contrasts, light tones require light tones, and deep tones require deep tones in their contrasting neighbours. 'New Dawn', 'Mountain Lake', 'California Gold', 'Capri', and 'King Russet' are useful for lightening effects in the middle background. In planting blues and yellows in contrast, use pure yellows, the depth of tone of the yellow depending on the depth of tone of the blue. 'Brunhilde', 'The Black Douglas', and 'Joanna', for instance, require the deep gold tones of 'Golden Hind' and 'Coromandel', while 'Exclusive' (silver blue) looks very lovely with 'Magnolia' (cream), and 'Shining Waters' and 'Aline' (clear light blues) with 'California Gold'.In pastel groupings two or three medium-toned blues and pinks will give character to, without destroying the delicacy of the colour effect. 'Harebell' and 'Sandia' are excellent for this purpose.As varieties, even in the same colour class, differ greatly in their garden colour value, I will give here a list of varieties I have found most suitable for their respective purposes. They are good bases about which to build a planting plan.

Varieties to Lighten the Effect:'Magnolia', 'California Gold', 'Pink Advance', 'New Dawn', 'Angelus', 'Exclusive', 'Golden Treasure', 'Fair Elaine', 'Lagos', 'Los Angeles’,’Mountain Lake', 'Pale Moonlight', and 'Seduction'.It will be noticed that many varieties have double utility value. In conclusion, I should strongly advise the planting of a fair proportion of blues and yellows in any planting. Even if one does not care for yellow or blue as a colour, the omission of those colours from a planting of Bearded Irises will deprive the whole planting of its essential character, and the colour scheme will prove to have a sense of something lacking.

~~~~~~~~

Lake Alice, Richmond, Kapiti, Mountain Lake, and Red Dawn, all mentioned in the above article were hybridised by Jean Stevems and introduced by Stevens Bros in their various catalogues in the early 1940s when their nursery was located in the Rangitikei township of "Bulls". None of these cultivars appear in any checklists meaning they were not registered, perhaps the result of correspondence lost during the war years. When colouration is a consideration, this article is just as relevant today as when it was first published and is courtesy of the New Zealand Gardener, October 1945.

Saturday, January 1, 2011

Happy New Year to you all and a great way to start the new decade is with the Jean Stevens (nee Burgess) heirloom and historic tall bearded iris "Destiny". In 1928 using the rich purple blue iris with a heavy gold beard that Ferdinand Denis had named 'Aurelle', and crossing it with a iris Jean referred to at the time as ' The finest in our collection' the 1925 Arthur Bliss introduction 'Mrs Valerie West' It was a most successful cross and labeled E53 it produced a bumper crop of seeds totaling 88. From the planted seeds, seven Irises where selected for registration by Jean in 1934, the seedling registered as 'Destiny' having the most success.Her notes on the blooming in 1931 records the seedling 1/E53 as, S. deep fawn purple; F. rich dark purple nearly black, velvety; Substance exceptional; Shape good; L. 4 ft.Although it was registered in 1934, 'Destiny' was introduced to New Zealand gardeners commercially in 1932 and was first listed in the Waikanae Irises Catalogue 1932 for the princely price of forty two shillings with the following description: DESTINY, This is an exceptionally fine variety of our own raising and has been much admired in our own gardens. Standards deep purple, shaded fawn; Falls rich dark purple, almost black. this is a flower of great substance and good form 4ft.Orpington Nurseries Co Ltd, Kent, England. 1934Destiny (Burgess 1934)Mr Pilkington told us about this handsome and distinct iris, and when we saw it in bloom, we strongly confirmed the good opinion his enthusiasm had created. The standards are deep purple suffused bronze, and the falls are purple-black very velvety and of great substance. this is a hybrid of Mrs Valerie West and is the darkest iris we have seen yet. Height 4 ft.In 1934 The Iris Society (BIS) awarded Destiny a Bronze Medal and was selected for trial at Wisley. Waikanae Irises catalogue reflected this new status of 'Destiny'

Waikanae Irises, A.H. Burgess & Son, Irises 1935.DESTINY This iris a seedling of our own raising was shown at a Royal Horticultural Show in London in June 1934 where it created a sensation. It was awarded a Bronze Medal by the Iris Society and was selected for trial at Wisley, the first award made to an Iris raised in the Southern Hemisphere.S. deep purple suffused bronze. F.purple-black very velvety and of great substance Late 21 shillings.(After
just 3 years growing at The Royal Horticultural Society, Wisley Trials,
'Destiny' in 1938 with 79 points was awarded a Award of Merit (AM) just
missing a First Class Certificate by one point.)

The Iris Society Year Book 1938, Visit to Wisley. 10th June 1938', Geoffrey Pilkington.

"I was interested to see Mrs Stevens (nee Burgess) DESTINY a Wisley carrying two very fine spikes of bloom. this is a superb Iris dark yet rich and attracts the immediate attention of the visitors. It does not seen to have acclimatised well in this country as yet, and the Wisley flower spikes where much better than any I ever grew of this variety. The judges will "Stop" when they see it next week."At the request of Robert Schreiner the Iris was exported from New Zealand to America and in 1940, Schreiner's, at time located in St.Paul, Minnesota listed Destiny in their catalogue with the following description;DESTINY Burgess 1934 M. 38" The antipodean origination which has made quite a name for itself in England; is a rich somber toned iris with exceedingly velvety broad falls of black plum purple coloring, deep purple standards and a rich gold beard. Destiny is especially effective in a garden when planted with 'Beowulf ' a complimentary color in maroon. Cooley's Gardens, Silverton, Oregon. Iris for 1949DESTINY (Burgess 1934)A great heavy flower of deepish blackish bronze purple, the beard a rich golden bronze. From New Zealand and credit is due to its originator for having made it possible for American gardens to enjoy such an outstanding iris. It has all good points- excellent form- tall stems and succeeds everywhere. Stevens Bros, Bastia Hill, Wanganui. Irises 1957-58.DESTINY (Burgess)This majestic iris possesses a real dignity all of its own. The standards are a deep purple, shaded bronze, whilst the falls are purple black. A deep golden beard produced well down the velvet black, entirely unveined fall, enhances the depth of the colour. A superb and well-finished variety in every respect. Late. 4’New Zealand Iris Hybridiser's Cumulative Checklist, 2010.DESTINY Miss E.J. Burgess, R.1934. Sdlg. 1/E53 TB, 48″, M-L, S9D. S. deep fawn purple; F. rich dark purple nearly black, velvety; Substance exceptional; Shape good; Description E.J Burgess Studbook notes,‘1928 flowering’; Aurelle x Mrs Valerie West; Waikanae Irises 1932; Orpington.1934;1938. Bronze Medal, I.S.(E.) 1934; Yr. Bk., I.S.(E.) 29. 1934; A.M., Reg., R.H.S. 1938; Yr. Bk., I.S. (E.) 44. 1938; 10A. 434.What is amazing about this Iris is that it is widely grown correctly labeled overseas.' Destiny' is still catalogued as growing in R.H.S garden collections in Ireland and England which has been confirmed, but only a few grow or know they are growing this iris in New Zealand.The above photo was sent to me by Phil Edinger who has proudly grown 'Destiny' in his California gardens for many years. Phil is the Historic Iris Societies I.D. Chair which removes any likely-hood of the Iris been incorrectly named by others.A big hat tip to Phil, you are a legendClicking the above image will automagically take you to the larger, higher resolution version.Photo credit and copyright Phil Edinger

"The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man".

George Bernard Shaw

WELCOME

HERITAGE IRISES

INDEPENDENT ALWAYS

Welcome to Heritage Irises, and
do make yourself at home. The blog shares the magic of Irises and
will feature some very special New Zealand raised varieties
including the brilliance of our very own Jean Stevens (1900-1967).
Each and every iris growing in New Zealand are a part of our Iris
Heritage and will all become historic or heirloom irises one day so
why not start early and give them all a good home! Writing and
researching about heirloom irises is just a hobby and the blog is my
diary notes and observations of the Irises I grow and like at
home.I'm really enjoying myself, although blogging is a lot like a
virus that invades the mind and body and you can't rid yourself of
it, in the nicest possibly way of course. Click on any photo to view
a larger image.

They took all the trees And put them in a tree museum Then they charged the people A dollar and a half just to see 'emDon't it always seem to go,That you don't know what you've got 'Til it's gone They paved paradise And put up a parking lot Yellow Taxi

Joni Mitchell

A 10 year old 5.1 mega pixel Fuji Finepix S5600 digital camera has been used exclusively for all photos able to be viewed on the blog that are accredited to Iris Hunter. Why such an old camera you may ask? Well its an easy camera to work with, but more importantly it reinforces my view that you don't have to invest thousands of dollars in equipment to produce a reasonably swish Blog

PRIVACY POLICY

This blog does not share personal information with third parties nor do we store any information about your visit to this blog other than to analyze and optimize your content and reading experience through the use of cookies. You can turn off the use of cookies at anytime by changing your specific browser settings.We are not responsible for republished content from this blog on other blogs or websites without our permission.This privacy policy is subject to change without notice and was last updated on June 1st, 2012. If you have any questions feel free to contact me directly here: "Iris.Hunter @ oakwaters.com"(spaces added to deter spambots, please remove when e-mailing me).