Identifyi a rhythmic sequenceii in a documentiii.
Internalizeiv that rhythmic sequence.
Carry out everyday rhythmic activitiesv invi that rhythm.
i A sequence of moments in time characteristic of your identification with the document (that is: not necessarily connected to the manifest content of the document nor its most marked rhythmic elements, but rather to whichever sequence of moments your attention is drawn).
ii “Rhythmic sequence” does not refer to rhythm in a musical sense, but rather to singular durations between moments in time. A rhythmic sequence is made up of unquantized durations indexical to the source-document (therefore inherently aperiodic). A rhythmic sequence might be approached as scalable in relation to its use [v.] so long as it’s precise proportions are maintained at every scale.
iii The source-document (audio, visual, textual, etc.) is of something one wants to study, feel, think, touch, give time to.
iv Repeatedly expose yourself to the source-sequence until you can fluently reproduce its rhythm. Forms of abstraction may be necessary – e.g., scaling, looping, instrumental transposition (indexically traced clicks/pulses/beats, for instance).
v Typing, blinking, chopping, masturbation, walking, etc. – any everyday rhythmic activity generally performed without conscious rhythmic reference. The activity & source rhythm need not & perhaps should not have any direct relation.
vi Performance of everyday rhythmic activities according to the contours of a given source-rhythm should be carried out as precisely as possible, regardless of potential altering or disordering of the activity at hand. For discrete rhythmic tasks (e.g., preparing a meal), the entirety of the task should be completed according to a source-rhythm. For continuous rhythmic activities (e.g., breathing), one might experiment with internalization of source-rhythms into forgetting – such that one, e.g., breathes unintentionally source-rhythmically & the source-document only returns to consciousness upon recognition thereof.