So, yes, we're all talking about the same things, generally. The only caveat that I repeatedly make is that there is a whole spectrum of levels and gradations of these skills out there. I.e., no two people had exactly the same abilities (think, e.g., Ueshiba and Tohei) in the same way that there are, for instance, guitar players who play blues, some play classical, some jazz, etc. Continuing the guitar analogy a bit, let's say that Ueshiba played classical guitar Aikido and that Tohei plays neo-Flamenco Aikido... people have to be careful and make sure (i.e., do thoughtful practice) that they don't wind up grabbing a guitar but playing Bluegrass Aikido.
A great artist doesn't limit oneself by what a genre is supposed to be, going beyond the norm is in part what helps define and keep it alive. As long as the artist acts according to the principles: maintains good center and ground, plays in time and in key, is aware of the instrument's(uke) implicit demand, then one has freedom to create music and Aiki. That's what O Sensei did. There really are infinite katas of infinite beauty, yet they are all highly defined and limited by upstream determinative principles. I've noticed much of O Sensei's Takemusu Staff had recurring and recombinant Short Form Sets. I may eventually be compelled to transcribe all his recorded staffwork in notation if only because no one else has ever taken the time to do so. It's also fascinating to actually discover what's hidden in plain sight. Some of his work can be visually deceptive, appearing simple but difficult to perform.