氣候緊急是全球關注的議題，「ArtCOP」是指與全球氣候治理最高決策機構「締約方會議」（Conference of the Parties, COP）相關的藝術活動與創作。為了探討COP官方對於藝術的討論涵蓋了哪些具體內容、呈現出何種發展趨勢？本研究以負責COP議程、會議資料、專業技術報告的《聯合國氣候變化綱要公約》秘書處（UNFCCC Secretariat，也稱UN Climate Change）官方網站作為研究對象。
本研究經由蒐集官網上所有與藝術相關的網路文章，進行編碼、統計分析和文字探勘，發現官網上與藝術相關的文章最早出現在2003年，說明自1992年UNFCCC簽署後超過十年才開始有藝術相關的討論。總體來說，官方以五種型式討論藝術：演說、文件、UN新聞稿、媒體報導、活動訊息；討論的內容方面可歸納為三大領域共11個細項，分別是「藝術創作領域」的攝影、繪畫、錄像或電影、文學或地方傳說、科技藝術、音樂或歌舞、裝置或建築、設計或服裝；「藝術活動領域」的COP會議流程或安排、工作坊或展覽，以及「藝術政策領域」的政策方針。在這三大領域中，又以藝術政策的討論最多，說明UNFCCC傾向把藝術作為政策溝通的媒介、政策倡議的工具。
進一步探討本研究關心的核心詞頻，發現代表氣候賦權行動的「ACE」（Action for Climate Empowerment）排名第93，強調敘事性的「story」僅居第128。這些字詞的熱度不高，顯示UNFCCC在透過藝術擴大公眾參與以及用故事進行氣候變遷的有效溝通上，還有進一步努力的空間。
本研究經由「文本共現網絡」和「N-gram語言模型」，發現UNFCCC在藝術相關文章中採取了一種強調行動與合作的特定論述策略，高頻使用 “initiative”, "action," "world," "global," "Paris" 等詞彙，較少使用 "carbon," "emission," "energy," "solutions" 等科學專業術語，且經常連帶使用帶有鼓舞性和希望感的字詞。這些詞彙共同構建了一個關於全球合作、人類行動和永續發展的論述框架。
情緒分析發現UNFCCC秘書處官網藝術相關文章並沒有那麼強烈的主觀性，有38.1％的文章情感值介於主觀與客觀之間的「0.40～0.54」，且有隨著時間更集中趨向客觀的趨勢，2024年後已經沒有分散式的極端點狀分布。「情感極性」分析顯示有超過93％的文章屬於正面情感，但值得注意的是，雖然2017年後文章的正面情緒趨緩，但負面情緒的值並沒有明顯趨緩。最後，在本研究發現的基礎上，針對藝術實踐者、政策規劃者、藝術研究者提出相關建議。

Climate emergency is a global concern, and "ArtCOP" refers to art activities and creations related to the Conference of the Parties (COP), the highest decision-making body for global climate governance. To explore what specific content is covered in the official COP discussions on art and what development trends are presented, this study focuses on the official website of the United Nations Framework Convention on Climate Change (UNFCCC) Secretariat (also known as UN Climate Change), which is responsible for COP agendas, meeting documents, and technical reports.
By collecting all art-related online articles from the official website, this study conducts coding, statistical analysis, and text mining. Overall, the official website discusses art in five formats: speeches, documents, UN press releases, news, events. In terms of content, the discussions can be categorized into three main areas with 11 sub-items: "Artistic Creation," including photography, painting, film, literature, technological art, music, installation or architecture, and design; "Artistic Activities," including COP procedures and fairs; and "Artistic Policy". Among these three areas, Artistic Policy is the most discussed, indicating that the UNFCCC tends to use art as a medium for policy communication and a tool for policy advocacy.
Further exploring the word frequency of the core terms of interest in this study, it was found that "ACE", representing climate empowerment action, ranked 93rd, and "story," emphasizing narrative, ranked only 128th. The low frequency of these terms suggests that the UNFCCC has room for further efforts in expanding public participation through art and using stories for effective communication about climate change.
Through "text co-occurrence network" and "N-gram language model" analysis, this study found that the UNFCCC adopts a specific discourse strategy in art-related articles that emphasizes action and cooperation, frequently using words such as "initiative," "action," "world," "global," and "Paris," while less frequently using scientific and technical terms such as "carbon," "emission," "energy," and "solutions," and often using words with encouraging and hopeful connotations. These words collectively construct a discourse framework about global cooperation, human action, and sustainable development.
Sentiment analysis revealed that the art-related articles on the UNFCCC Secretariat's official website do not exhibit strong subjectivity. 38.1% of the articles have a sentiment subjectivity value between "0.40 and 0.54," falling between subjective and objective, with a trend towards greater objectivity over time, and no scattered extreme point distribution after 2024. "Sentiment polarity" analysis shows that more than 93% of the articles have positive sentiment. However, it is worth noting that while the positive sentiment of the articles has eased after 2017, the negative sentiment values have not shown a significant decrease. Finally, based on the findings of this study, relevant recommendations are made for art practitioners, policymakers, and art researchers.

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