<|begin_of_text|><|start_header_id|>system<|end_header_id|>You are an expert on climate change, human mobility and migration. Answer the question truthfully.<|eot_id|><|start_header_id|>user<|end_header_id|>Here are the title and abstract of a scientific paper probably related to climate change, human mobility and migration..
Title:"Even Better than the Real Thing: Economies of ontological authenticity in socially engaged art practice."
Abstract:"In this essay the idea of social practice as a mode of cultural philanthropy is rejected in favour of a different form of symbolic exchange between social practice and the art world predicated on proximity to the real. Crystallized by the refugee crisis, Slavoj Ziek has noted the polarization of politics in Europe. His critique of the liberal humanist appeal to our moral generosity is deployed as a point of departure for understanding this problem of the economy of attention and engagement with contemporary emergencies. The principle of generosity in philanthropy is critiqued as a whimsical corrective within the neoliberal imaginary. Art in the age of emergency is explored via an examination of the duty of art museums, from their original duty of explanation to their current imperative to function at the level of transforming subjectivity. Hito Steyerl notes a shift in the performative duties of the artist in the museum, a persistent requirement for their presence. The implications of that preoccupation with presence is explored for the field of social practice. Economies of visibility that govern the sight lines of social practice within this paradigm are analysed. An experience drawn from the collaborative practice of Vagabond Reviews is introduced, drawing attention to an ontological economy that organizes the mode of symbolic exchange between the situated art of social practice and the art academy. Social practice is complicated by the way in which it increasingly straddles an ontological corridor between sites of practice in the real on a one-to-one scale and the the gallery-based art world. Finally, it is suggested that the field of contemporary art is trying to get away from itself, enacting its own ontological self-cancellation by dissolving into the real.."
I have six questions you need to answer.
Q1: Is this article is about 'human migration mobility': 1 = yes; 0 = no. Answer with a number. Do not give a textual explanation.

Q2: What drivers of migration and mobility does the article study? 0 = 'other', 1 = 'climate', 2 = 'environment', 3 = 'economic', 4 = 'conflict', 5 = 'political', 6 = 'social', 7 = 'family'. Answer with a number or a sequence of numbers separated by commas. Do not give a textual explanation. 

Q3: What is the overall sentiment of the article?:0 = 'neutral', 1 = 'negative', 2 = 'positive'. Answer with a number. Do not give a textual explanation.

Q4: What type of climate or environmental keywords are explicitly mentioned?:  0 = 'none', 1 = 'algal blooms', 2 = 'infestation', 3 = 'infectious diseases', 4 = 'ocean acidification', 5 = 'sea ice', 6 = 'acid rain', 7 = 'drought', 8 = 'cold wave', 9 = 'heat wave', 10 = 'glacial', 11 = 'wildfire', 12 = 'air pollution', 13 = 'biodiversity loss', 14 = 'coastal erosion', 15 = 'land degradation', 16 = 'deforestation', 17 = 'desertification', 18 = 'water pollution', 19 = 'diebacks', 20 = 'permafrost loss', 21 = 'sand mining', 22 = 'sea level rise', 23 = 'earthquake', 24 = 'tsunami', 25 = 'volcanic', 26 = 'flood', 27 = 'avalanche', 28 = 'landslide', 29 = 'downburst', 30 = 'thunderstorm', 31 = 'sandstorm', 32 = 'haze', 33 = 'storm', 34 = 'cyclone', 35 = 'blizzard', 36 = 'hail', 37 = 'snow', 38 = 'tornado', 39 = 'wind', 40 = 'hurricane', 41 = 'typhoon', 42 = 'other'. Answer with a number or a sequence of numbers separated by commas. Do not give a textual explanation. 

Q5: What discipline does the article belong to?: 0 = 'other', 1 = 'social science', 2 = 'natural science', 3 = 'arts and humanities', 4 = 'multidiscipline and interdiscipline'. Answer with a number. Do not give a textual explanation.

Q6: Does the article apply quantitative and/or statistical analysis?: 0 = 'no', 1 = 'yes'. Answer with a number. Do not give a textual explanation.

Use the following template: 

Q1 = [];
Q2 = [];
Q3 = [];
Q4 = [];
Q5 = [];
Q6 = [].<|eot_id|><|start_header_id|>assistant<|end_header_id|>Answer:
Q1 = [1];
Q2 = [6];
Q3 = [];
Q4 = [0];
Q5 = [];
Q6 = [0].
Even Better than the Real Thing: Economies of ontological authenticity in socially engaged art practice
In this essay the idea of social practice as a mode of cultural philanthropy is rejected in favour of a different form of symbolic exchange between social practice and the art world predicated on proximity to the real. Crystallized by the refugee crisis, Slavoj Ziek has noted the polarization of politics in Europe. His critique of the liberal humanist appeal to our moral generosity is deployed as a point of departure for understanding this problem of the economy of attention and engagement with contemporary emergencies. The principle of generosity in philanthropy is critiqued as a whimsical corrective within the neoliberal imaginary. Art in the age of emergency is explored via an examination of the duty of art museums, from their original duty of explanation to their current imperative to function at the level of transforming subjectivity. Hito Steyerl notes a shift in the performative duties of the artist in the museum, a persistent requirement for their presence. The implications of that preoccupation with presence is explored for the field of social practice. Economies of visibility that govern the sight lines of social practice within this paradigm are analysed. An experience drawn from the collaborative practice of Vagabond Reviews is introduced, drawing attention to an ontological economy that organizes the mode of symbolic exchange between the situated art of social practice and the art academy. Social practice is complicated by the way in which it increasingly straddles an ontological corridor between sites of practice in the real on a one-to-one scale and the the gallery-based art world. Finally, it is suggested that the field of contemporary art is trying to get away from itself, enacting its own ontological self-cancellation by dissolving into the real.