What do we look at if considering movement a visual rather than a kinetic art?

|tokyo|'s movement design attempts to suggest an example. Trouble arises in this, however, since the task lies -perhaps- more heavily with the viewer, who can choose to consider movement either way without dictum from the art or artist.

Out of question and conundrum grew a solution for both mood and visuality, and that was to maintain one temporal tone for all movement within a given section. Whether slow or fast, the pace should remain unchanging.

Rudolf Laban's theories and notation system offered similarly useful instruction. The deconstruction of the body's space provides a visuality that can neither deny nor inhabit its three dimensionality.

|tokyo| rarely relies on the explicit diagonal pathway, whether in the movements of the body space or of the body through space. At the same time, surface and volume cannot be defined without inferring diagonals, and |tokyo| takes seriously the viewer's attention to that implication.

Movement in |tokyo| lives in a familiar world, and in this is largely about the environment of the piece.