<|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:"Forging Transnational Actor Networks through Participatory Action Research: Responsibility to Protect via Musical Rehumanisation in Post-War Liberia."
Abstract:"This article outlines a reconfiguration of the network trope as a means of conducting reflexive, applied research on society, technology, and music, towards positive social transformation, with application in post-war Liberia. In the social sciences, the mathematical concept of graph or network has provided a powerful paradigm both for scientific explanation and humanistic understanding, through social network analysis. Its application in the present article transcends these applications through a shift in emphasis, from explanation and understanding to social transformations, induced by forging new transnational networks out of the collaborative, iterative cycles of participatory action research (PAR) centered on music, digital musical production, and sociomusical relationships. These networks are designed to address what the UN has identified as the responsibility to protect (R2P), as a means of mitigating that dehumanisation underlying all human rights abuses. Beyond explanation or understanding, I emphasise PAR networks as tools and instances of social transformation, not only as means, but as ends in themselves, holding that the right sort of transnational social network a harmoniously interacting global community is precisely what is sought. Further, whereas the network actor is typically either human (in social network analysis) or non-human (in much network science), I combine the two in applied research, building on Latour's Actor Network Theory (ANT) in two respects. First, beyond joining the human and nonhuman I consider also their double intersection: the expressive arts (including music) as the human nonhuman; and dehumanisation as the nonhuman human. Second, I extend such constructivism to transformative participatory action research. The chapter charts the iterative formation of a transnational PAR actor-network, including Liberian refugee musicians, academics, students, and producers, constituting both method and objective for applied ethnomusicology. I identify thethe digital song (manifesting in multiple remixes) as flexible mediator, its potential remixes enhancing connectivity, forging harmoniously interacting transnational actor-networks via people, technology, and music. Such networks not only facilitate a better world, they embody it.."
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 = [4,5,6];
Q3 = [2];
Q4 = [0];
Q5 = [];
Q6 = [0].
Forging Transnational Actor Networks through Participatory Action Research: Responsibility to Protect via Musical Rehumanisation in Post-War Liberia
This article outlines a reconfiguration of the network trope as a means of conducting reflexive, applied research on society, technology, and music, towards positive social transformation, with application in post-war Liberia. In the social sciences, the mathematical concept of graph or network has provided a powerful paradigm both for scientific explanation and humanistic understanding, through social network analysis. Its application in the present article transcends these applications through a shift in emphasis, from explanation and understanding to social transformations, induced by forging new transnational networks out of the collaborative, iterative cycles of participatory action research (PAR) centered on music, digital musical production, and sociomusical relationships. These networks are designed to address what the UN has identified as the responsibility to protect (R2P), as a means of mitigating that dehumanisation underlying all human rights abuses. Beyond explanation or understanding, I emphasise PAR networks as tools and instances of social transformation, not only as means, but as ends in themselves, holding that the right sort of transnational social network a harmoniously interacting global community is precisely what is sought. Further, whereas the network actor is typically either human (in social network analysis) or non-human (in much network science), I combine the two in applied research, building on Latour's Actor Network Theory (ANT) in two respects. First, beyond joining the human and nonhuman I consider also their double intersection: the expressive arts (including music) as the human nonhuman; and dehumanisation as the nonhuman human. Second, I extend such constructivism to transformative participatory action research. The chapter charts the iterative formation of a transnational PAR actor-network, including Liberian refugee musicians, academics, students, and producers, constituting both method and objective for applied ethnomusicology. I identify thethe digital song (manifesting in multiple remixes) as flexible mediator, its potential remixes enhancing connectivity, forging harmoniously interacting transnational actor-networks via people, technology, and music. Such networks not only facilitate a better world, they embody it.