Movement in space refers to objects that occupy spaces. Objectal reference to spaces refers back to distance between objects and movemental body. When the movemental body goes through or covers space the distance stays same between the movemental body and the so-called empty space. The distance increases between the movemental body and the objectal references. The nodal exegetic formal gestation ‘inbetween’ space and objectal reference brings in the crevasse hole. The pursuit of sameness destabilises the crevasse hole. But due to movement the crevasse hole increases. Yet, despite the movement of the body, the distance within space and body regards the same. Despite occupying space, the distance with body and body inside space stays prior, and to an extent, stays the same. During movement nodal curvature readily evokes the concept of semblance. Because space’s priority is sameness but objectal reference of the ground is increased due to movement and creates crevasse, so the movement is within space, which from outside looks as it is same. As if the body is in a same place. Due to the originary point is movement in space; it is allowed to call this phenomenon semblance in artistic sense. In the sense of art, it refers to mimetic quality as space is changed yet, the distance inbetween the body and space stays same and occupies same amount of space. It is not resemblance as resemblance entails an act of repetition. Semblance is an act of mimesis. Coming close to home always stays the same amount of space evocation to be travelled with. This is why our farthest distance occupying civilisational effort never reaches the down and out backstreet of home. Homecoming is only achieved through outside repetitive yet the inside emergence of decreasing distance, between occurrence of space and movemental body. Life is ever fond of being at home, in sameness, across the universe. Love longs for sameness in gratitude, for humanity.