Synchronization means a strategic shift in rhythmic accents, an emphasis on weak shares in order to experience rhythmic unpredictability, structural «irregularity» or, if you will, a contingent. It’s a way to get the listener out of his rhythmic complacency. Hear (or, if you’re reading in silence, remember) how the synced bass line is playfully opposed to the flat pulse of drums, or how the jazz soloist’s phrase loops around the main rhythm. At these moments, syncopying opens up space for play and improvisation. Simultaneous anticipations, microscopic frustrations caused by late accents, their comforting return «beautifully late than never», the continuous alternation of the senses of sustainability and unresolvable volatility [3] give these rhythms dialyness, fill them with breathing and progressive mobility. It’s the rhythm that is actively constitutionalizing our very experience of temperarity. It draws us into a special state of consciousness in which linear time transforms into non-linear structures.