Entrainment
n. the synchronizing of one moving thing or being to another.
To entrain is to arrange the unfolding cyclical moments of heavy/light in one performer so as to coincide with the cyclical moments of heavy/ light in another performer. Not only a coinciding of crusic hits, Soma Literate entrainment recognizes a syncing of the building and decaying momentums/inertias/trajectories yearning-toward the crusic moments.
Walking in lock-step, passing the baton in the relay race, and adjusting to a new time zone are all examples of entrainment. Easy conversation where both parties share a seamless pacing and an effortless back and forth is a form of entrainment. As one approaches an escalator, they must entrain their walking gait to synchronize to the moving stairs before stepping on.
Entrainment is not exactly optional. We desire harmony with our environment and the persons and things around us. It is such a strong desire to be-with that the the actor is notably nudgable. From the view of the actor, entrainment presents as self to self, self to other, self to thing, self to environment. The temporally minded designer will do well to recognize the cycles of heavy/light that are present in a given situation and search for ways to ease the transition from stand-alone actor to entrained actor.
. . . we entrain with the world while having an aesthetic experience, we let the world act upon us as we are trying to identify, understand or interpret the current action, i.e. as we are trying to form a clear representation. This contrasts with an instrumental relationship, where we attempt to bent the world to our desires (in aesthetic conduct we adjust our mental representations to the world). We are being receptive to the world. (Lesage, 2015, para. 48 emphasis added)
maybe take some words to discuss unisons vs counterpoint vs polyrhythm etc.
https://www.wired.com/story/stunning-images-of-starlings-in-flight/
see In Time, Flow, Gait, Nudgable