[1] Designated "Delegate for Europe and Africa" by Morihei Ueshiba, Noro debarked in Marseille on September 3, 1961, preceding Nakazono and Tamura in the communal construction of a European and African aikido.

This union, holding in harmony the Way of the Sky, the Way of the Earth and the Way of Man, releases an ascending energy (ki in Japanese, qi in Chinese), from the ground upward, from the feet, through the grasp and beyond.

From a physiological perspective, the body produces movement by activating the muscles, whose efforts are sustained by the work of the cardiovascular and respiratory systems.

This understanding of the generation of energy stems from the European Age of Enlightenment[3] and does not take into account the possibility of the Far Eastern conception based on ki.

The Chinese concept, and by extension the Japanese, perceives the ki (or in Chinese qi) as "a breath, influx or vital energy which animates the entire universe [... ] Simultaneously spirit and matter, the breath ensures the organic coherence of the living order at all levels".

Masamichi Noro reclaims as his own the vision of his master, Morihei Ueshiba, who used his techniques to perfect the proper circulation of the ki within himself and toward his partner, or uke in Japanese.

Referring again to the work of Anne Cheng, "Man is not only animated [by qi] in every aspect, he draws from it his criteria of value, whether of a moral or artistic nature.

The shin is also a space through the continuity of experience one feels when confronted with the emotion, effort and understanding in the other, in their body, and in the breath revealing ki.

Kinomichi’s shin responds to the Confucian invitation to live the joy of the practice, the pleasure of the encounter and the happiness of sharing "with the friend who comes from afar.

Reiterating the didactic approach of his master, Morihei Ueshiba, Masamichi Noro retained 10 techniques as a base.

While the base of the primary Initiations is centered on the study of ki, levels 5 and 6 orient the practitioner toward an application of shin and a technical expertise.

Obedient to a desire to harmonize forces (Aiki in Japanese 合気) the technique is oriented toward the preservation of the other and oneself, an extension of the movement and not its obstruction, a stretching of the limbs and not an articular constraint.

Allying comfort and effort, pleasure in the body’s opening and physical work, leisurely activity and high level practice, Kinomichi surpasses what some call paradox.

Benefits from such activity (such as physical health, mental stimulation or developing the capacity to respond and act) may form the Means to the Way, but must not be mistaken for the Way.

Loyalty to its roots imposes a deepening of meaning of the practice, thus advancing in alliance with technique toward the principles in order to illustrate the Way.