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]


Maguy Marin's doll's-house account of Cinderella is like the Victorian rocking horse on which the Prince rides: appealing to look at, fun for a while, then its limited range of motion palls. Once the old-fashioned novelty has worn off, you realise it's not going anywhere.

Created in 1985, Cinderella has served ever since as Lyon Opera Ballet's calling-card. Its puppet images soften up audiences for the harder-edged modern work in which the company excels. Yorgos Loukos, its director for the past 15 years, has commissioned the kind of repertoire that the restructured Scottish Ballet, under its new director, Ashley Page, might emulate. They don't do conventional classics: ballet-trained dancers perform works by contemporary choreographers, some requiring point work, others bare feet or boots. When they dance Coppelia, Carmen or Romeo and Juliet, there's always an original take on a familiar story.

Marin's provocative gimmick in Cinderella is to rob dancers of the physical attributes that make them special. She pads their slender limbs, constricts their movements and puts masks over their faces. They have to try harder to be expressive, tilting the masks to catch the light, reaching out with their rigid arms. Baby-doll Cinderella is perpetually poignant, her blue prince a boyish blank. The Ugly Sisters and Wicked Stepmother are scowling sumo wrestlers, squashing her attempts to assert herself.

They all live in a three-storey structure stuffed with battered toys. The Fairy Godmother, waving a Star Wars light sabre, arranges for Cinderella to attend the Prince's birthday party on the second floor. Three fairy attendants in Barbie-pink toe shoes have taught her a simple dance. Now we're in trouble, for the fairies do bad ballet and floppy-bodied Cinders is a slow learner.

When she pulls herself together to dance a pas de deux with the Prince, they can communicate only dumb longing. Childlike, they betray the ballet conventions on which Prokofiev's (recorded) ballet score relies. His magical falling-in-love music cries out for lyrical choreography. Marin sticks to the grotesque, wasting lavish waltzes on galumphing party guests. She interrupts the score with baby gurgles, contrasting infantile innocence with the cruelty of growing up.

By the time the Prince sets out on his rocking-horse travels in search of Cinderella, I was as frustrated as a toddler. Too much pathos, not enough interest. Although the programme notes make grandiloquent claims for the virtues of fairy tales and cardboard theatre, Marin never uses dance and music for what they alone can convey: feelings too profound for words or dumb show.

The Bonnie Bird Theatre at the centre of the new Laban building inaugurated its first week of public performances with enticing double-bills. The only drawback to the colourful oasis on Deptford Creek is the fearsome journey it involves: night-time walkers could do with light-sabred guards to escort us through the surrounding wasteland.

Worth the trek, though, for a rare sighting of Akram Khan's company, who spend much of their time touring abroad. Kaash, Khan's collaboration with Anish Kapoor and Nitin Sawhney, was given its premiere at the South Bank in May last year. It then went into orbit and won't be seen in London again until December.

Kaash's brief Laban re-appearance proved how much it has been tightened up, losing the turgid elements that had bogged down its middle section. Now, instead of dancers' voices posing rhetorical questions (the title is Hindi for 'if'), Sawhney's soundtrack fragments and distorts their syllables. Like their gestures, the sounds are both abstract and meaningful. The piece draws on ancient myths and modern physics to describe the cyclical creation and destruction of the universe. There are echoes of Hindu gods in the poses the dancers adopt, in the rhythmic chants Khan sings out to set them going.

They are wonderfully assured now, keeping pace with Khan as he spins galaxies into being, resisting and accepting the black hole of Kapoor's backdrop.

Framed by the theatre's proscenium arch, the light-saturated painting, with its infinitely dark heart, is an integral part of the dance. Soon, you lose the sense that Kaash has been choreographed and accept it as an elemental force. Coming down to earth after its apocalyptic ending is a shock, an impossible act for anyone to follow.