<|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:"A Note on Spatial Dialectics."
Abstract:"In the notes to the 2015 Venice Biennale, called All the World's Futures, Okwui Enwezor's make the following observation: the global landscape lies shattered and in disarray, scarred by violent turmoil, panicked by specters of economic crisis and viral pandemonium, secessionist politics and a humanitarian catastrophe on the high seas, desserts and borderlands, as immigrants, refugees and desperate people seek refuge in seemingly calmer and prosperous lands. How can the current disquietthe radical changes from industrial to post-industrial modernity; technological to digital modernity; mass migration to mass mobility, environmental disasters and genocidal conflictsbe grasped and articulated?This essay examines some critical expressions that could be a response to Enwezor's poigniant question. To substantiate this statement, I discuss Herbert Marcuse's 1960 essay A Note on Dialectic as well as Henri Lefebvre's notion of spatial dialectics. Unlike dialectics based on an analysis of historical time and of temporality (Hegel and Marx), spatial dialectics focuses on the contradictions which imply and explain contradictions in historical time without being reducible to them. In other words, the notion of contradiction is not restricted to temporality or historicity but draws attention to contradictions and conflicts in space as well as to contradictions of space, reminiscent of the classical contradictions engendered by history and historical time.I will elaborate on this point by bringing the discussion back to the visual and performance artto Tadeusz Kantor's statements about his use of objects in the 1944 production of The Return of Odysseus and to Abraham Cruzvillegas' autoconstruccion. Both of these artists, I wish to argue, offer a practice which breaks the syntax of the current new materialist turn and of the processes that aestheticize reality, in order to historicize the performative in the age of globalization along the lines of Marcuse's dialectics and Lefebvre's spatial dialectics.."
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: 

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Q4 = [];
Q5 = [];
Q6 = [].<|eot_id|><|start_header_id|>assistant<|end_header_id|>Answer:
Q1 = [1];
Q2 = [4,5];
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Q4 = [0];
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A Note on Spatial Dialectics
In the notes to the 2015 Venice Biennale, called All the World's Futures, Okwui Enwezor's make the following observation: the global landscape lies shattered and in disarray, scarred by violent turmoil, panicked by specters of economic crisis and viral pandemonium, secessionist politics and a humanitarian catastrophe on the high seas, desserts and borderlands, as immigrants, refugees and desperate people seek refuge in seemingly calmer and prosperous lands. How can the current disquietthe radical changes from industrial to post-industrial modernity; technological to digital modernity; mass migration to mass mobility, environmental disasters and genocidal conflictsbe grasped and articulated?This essay examines some critical expressions that could be a response to Enwezor's poigniant question. To substantiate this statement, I discuss Herbert Marcuse's 1960 essay A Note on Dialectic as well as Henri Lefebvre's notion of spatial dialectics. Unlike dialectics based on an analysis of historical time and of temporality (Hegel and Marx), spatial dialectics focuses on the contradictions which imply and explain contradictions in historical time without being reducible to them. In other words, the notion of contradiction is not restricted to temporality or historicity but draws attention to contradictions and conflicts in space as well as to contradictions of space, reminiscent of the classical contradictions engendered by history and historical time.I will elaborate on this point by bringing the discussion back to the visual and performance artto Tadeusz Kantor's statements about his use of objects in the 1944 production of The Return of Odysseus and to Abraham Cruzvillegas' autoconstruccion. Both of these artists, I wish to argue, offer a practice which breaks the syntax of the current new materialist turn and of the processes that aestheticize reality, in order to historicize the performative in the age of globalization along the lines of Marcuse's dialectics and Lefebvre's spatial dialectics.