A Live-Time Relation: Motion Graphics meets Classical Music

In our digital age, we frequently meet fine examples of live performances of classical music with accompanying visuals. Yet, we find very little theoretical or analytical work on the relation between classical music and digital temporal visuals, nor on the process of creating them.
In this paper, I present segments of my work toward a working model for the process of design of visuals and motion graphics applied in spatial contexts. I show how various design elements and components: line and shape, tone and colour, time and timing, rhythm and movement interact with conceptualizations of space, liveness and atmosphere. The design model will be a framework for both academic analytical studies as well as for designing time-based narratives and visual concepts involving motion graphics in spatial contexts.
I focus on cases in which both pre-rendered, and live generated motion graphics are designed to be experienced interconnected and simultaneously with live music. These cases have been created in connection with an on-going EU funded inter-regional project (Interreg), which e.g. aims to show examples of ways in which digital technologies can be integrated in live performances of classical music.
Of particular interest are the audio-visual parallels between motion graphics presented in the foyer, before, and the large-scale video projections, during the live concert. These parallels are studied through theory and using terminology derived from two different fields. One perspective includes ideas and practice derived from the extensive domain of visual music. The other stems from perception theories related to concepts of liveness.
Finally I look into how theories and terminology from these fields might contribute to the evolving design model.