 The world emerges in the articulation of the Dharma through such mutual differentiations in pattern. From out of the sea of emptiness, through Dainich’s articulation qua mutual interplay of the five material elements, the cosmos is ordered into distinct and discrete things and events, and the hosshin transforms itself into a legible – albeit ambiguous – cosmic (con)text. This linguistic cosmogeny is simultaneously ontological and me-ontological. For each thing as sign in differential reference to the rest of the cosmic text, mirrors the infinity of all the other mutually referring and mutually differing thing-events. In its own emptiness, each thing-letter mirrors the emptiness of the cosmos, i.e., the Dharma. They are traces of the hosshin’s omnipresencing non-substantiality, emptiness as the “primal non-originating” source of these thing-events in their beginningless and endless interrelations. Kūkai takes this linguistic cosmo-genesis in emptiness via the hosshin’s world-play, to be the meaning behind the “playful striding of great emptiness,” mentioned in the Dainichi-kyō (T18:21a) and which he quotes in his Sokushinjōbutsugi. Furthermore this cosmogeny that is an articulation of truth, the writing of the cosmic text, is open-ended and on-going, dynamically being continuously reworked. This accounts for the ambiguity of the cosmic text and every sign within it.