<|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:"(M)Othering Like Us Open Casket, Dining in Refugee Camps and Parker Bright's intervention into the presumption of care."
Abstract:"Black artist-activist Parker Bright's three-day protest of white artist Dana Schutz's Open Casket (2016) at the 2017 Whitney Biennial ignited a debate concerning historical witnessing versus cultural appropriation, artistic freedom and freedom of speech, and institutional agency in affording socioeconomic value to white artists over artists of colour. While intended to evoke an empathetic response across race, Schutz's painterly reproduction of the iconic photograph of 14-year-old murdered Black boy Emmett Till perpetuates and participates in white violence on Black life. Schutz's own response-I don't know what it is like to be black in America but I do know what it is like to be a mother-suggested an empathetic connection with Till's mother, Mamie Till Mobley, whereby abstract notions of heteronormatively defined white motherhood transcend the reality of everyday Black and Brown life.Schutz's claim resonates with a statement made by Robin Kahn, a white artist whose installation-performance Dining at Refugee Camps (2012) at dOCUMENTA13 relocated a community of Sahrawi women exiled to the Tindouf Refugee Camps in Algeria since 1975 to Kassel, Germany, as a symbol of peaceful refuge. Kahn identifies as a mom of color (her adoptive daughter is African American), suggesting a universal/izing point of reference to the refugees that elides the disparity in privilege and precarity.Schutz and Kahn deploy white feminist-in particular, white motherhood-tropes to deemphasize damage done to Black and Brown people that the artists' work reproduces. This article is about the cultural collateral white motherhood assumes in its own gendered, racialized, and economic privilege (as well as the assumption thereof within the space of academic publishing and in the article itself). It is also about the broader response in the artistic community, primarily from artists of colour, who literally and figuratively stand between the viewer and artwork.."
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 = [];
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Q6 = [].<|eot_id|><|start_header_id|>assistant<|end_header_id|>Answer:
Q1 = [1];
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Q4 = [0];
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(M)Othering Like Us Open Casket, Dining in Refugee Camps and Parker Bright's intervention into the presumption of care
Black artist-activist Parker Bright's three-day protest of white artist Dana Schutz's Open Casket (2016) at the 2017 Whitney Biennial ignited a debate concerning historical witnessing versus cultural appropriation, artistic freedom and freedom of speech, and institutional agency in affording socioeconomic value to white artists over artists of colour. While intended to evoke an empathetic response across race, Schutz's painterly reproduction of the iconic photograph of 14-year-old murdered Black boy Emmett Till perpetuates and participates in white violence on Black life. Schutz's own response-I don't know what it is like to be black in America but I do know what it is like to be a mother-suggested an empathetic connection with Till's mother, Mamie Till Mobley, whereby abstract notions of heteronormatively defined white motherhood transcend the reality of everyday Black and Brown life.Schutz's claim resonates with a statement made by Robin Kahn, a white artist whose installation-performance Dining at Refugee Camps (2012) at dOCUMENTA13 relocated a community of Sahrawi women exiled to the Tindouf Refugee Camps in Algeria since 1975 to Kassel, Germany, as a symbol of peaceful refuge. Kahn identifies as a mom of color (her adoptive daughter is African American), suggesting a universal/izing point of reference to the refugees that elides the disparity in privilege and precarity.Schutz and Kahn deploy white feminist-in particular, white motherhood-tropes to deemphasize damage done to Black and Brown people that the artists' work reproduces. This article is about the cultural collateral white motherhood assumes in its own gendered, racialized, and economic privilege (as well as the assumption thereof within the space of academic publishing and in the article itself). It is also about the broader response in the artistic community, primarily from artists of colour, who literally and figuratively stand between the viewer and artwork.