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]


Herbert Rösler

Herbert Rösler (June 15, 1924 – November 11, 2006) was a German artist, writer and designer.
He worked as a painter, graphic designer, sculptor, developed models for futuristic architecture, designed clothes, furniture and handcrafted jewelry.
Furthermore, he is also known as founder of the Christian work- and housing-community Gruppe 91 (Group 91), their beliefs and lifestyle have similarities to the Jesus movement.
Rösler was the creative and spiritual guidance for this community from their beginning in 1968 to the date of his passing in 2006.
Artworks of Rösler are on permanent display in the exhibition hall G91-Bau in Tübingen.
Besides their cultural engagement, Rösler and his group were also committed to many social projects.

Life and work

Youth, War and first employments (1924–1967) 

Herbert Rösler was born as the youngest of three children.
His father came from Neutrebbin and was a certified forester and estate manager, his mother was from Franconia.
Around 1938 he began training as a technical merchant for his first employment.

By the age of 18 he voluntarily joined the military and was stationed with a tank battalion in Africa.
As a prisoner of war he was brought to the United States where he had to work on the field and in the woods, in his free time he began with drawing.
Along with other detained soldiers he was dismissed in France where he and his group were captured and imprisoned again.
In 1948 he managed to escape and made his way back to Germany.
Rösler was changed by the war and from there on considered himself as a pacifist.

After the war, he worked as a decorator for Polydor, designed movie posters for local cinemas and started his own advertising agency.
In 1948 he met Ischabell Nadler (* 5. März 1930; † 13. März 2015), they married in 1951 and had two children.
Rösler moved from Stuttgart to Cologne in 1960 where he became head of the set design department for the record label Electrola.
As part of this job he was in charge of the stage arrangements for a Maria Callas Tournee, the Ansbach Bach Week, the Bayreuth Festival and the German Schlager-Festival in Baden-Baden.
During his time in Cologne, Rösler met Wolf Vostell who was also working for the Electrola as a cover art designer.
After a few years in the Electrola around 1964, Rösler and an associate bought an old candy-factory which they renovated as a studio for advertisement photography.
In 1966 Rösler suffered a stroke and the studio was sold again.
After his recovery he worked as a freelancing graphic designer, caricaturist, exhibition architect and was responsible for the pagination of the German Physicians Journal.

Beginning of the Gruppe 91 (1968–1972)
Besides his work, Rösler further pursued his passion to draw and engaged in meditation.
In the night of September 18/19, 1968, Rösler experienced a vision that marks an important spiritual turning point in his life.
He quit his job and opened his house for young people from all over Germany.
This is how the Gruppe 91 was founded, it is named after city-district number to that time of Ostheim (part of Kalk, Cologne) where the community lived.
In February 1972 the group was featured in the nationwide broadcast documentary Pop und Weihrauch (Pop and Frankincense) of the Swiss director Roman Brodmann.
The documentary focused on the German Jesus People and other Christian revival groups.

Time at Lake Constance (1973–1983) 
In 1973 the group moved to Southern Germany, first to the Black Forest and from there on to Lake Constance.
During their residence in the Black Forrest region, Rösler began with his first large-scale paintings.
These paintings were initially exhibited in the farm estate near Lake Constance which the Gruppe 91 inhabited.
On an area of about 5000 m² at the Friedrichshafen Fair 1981 his work became accessible to a wider audience in the exhibition called ... für eine neue Welt ... (... for a new world ...).
Many exhibitions in the local area around Lake Constance followed like on the Internationale Bodenseemesse (International Lake Constance Fair).
In the years from 1977 to 1983 Rösler created hundreds of paintings, plastics, sculptures and design drafts.
Rösler was the empowering and inspiring guide for the members of his group, he often provided the drafts and they implemented it.

Era Tübingen (1983–2006) 
On the way back from Munich on June 18, 1983, Herbert Rösler was involved in a serious car accident where he lost 90% of his eyesight.
He was hospitalized and treated over several months in a specialized eye clinic in Tübingen.
During his recovery he dictated the book Für eine neue Welt (For a new world).
The book features prose, poetry, drawings and photographs of the group, it was self-published in 1985.
Before the end of 1983 the Gruppe 91 also moved to Tübingen.
The majority of Rösler's work was created between 1984 and 2006.
From 1991 to 2000 his work was displayed in a gallery near the Steinlach.
Since then it is exhibited in the G91-Bau which was an old construction hall for tanks, transformed and redesigned after Rösler's drafts.
In 2002 a local newspaper featured an article about Herbert Rösler and the Gruppe 91 entitled "Jetzt können wir sagen Chadasch" ("Now we can say Chadasch").
This gave birth to the self chosen titling for Rösler's style of art Chadasch which is the Hebrew word for new.
Since his passing in 2006, members of the Gruppe 91 still live by Rösler's spirit and carry on his artistic legacy in the G91-Bau and further local exhibitions.

External links 

 Video: The Gruppe 91 at home  (in German)
 Homepage of the Gruppe 91 (in German)
 Herbert Rösler's biography in Tübingen's city wiki TÜpedia. (in German)

Notes 

Category:2006 deaths
Category:20th-century German painters
Category:Postmodern artists
Category:Modern artists
Category:Modern sculptors
Category:German pacifists
Category:1924 births
Category:People from Stuttgart
Category:20th-century German sculptors
Category:German installation artists