“Winesburg, Ohio” is an act of uncanny place-making. The collection borrows its name from a 1919 short-story cycle by Sherwood Anderson, which explores a peculiar cast of characters living within a fictionalized, midwestern town. Like Anderson’s text, the “Winesburg, Ohio” algorithm constructs a world through recurring portrayals of specific structures and landmarks. Its scenes are populated by a variety of familiar elements taken from my larger body of work, including water towers, houses, and churches. Meanwhile, a series of scripted gestures insert abstract compositional elements into the outputs, counteracting their pictorial legibility. The strange landscapes that result are composite ideograms, comprised of multiple spatial possibilities that co-exist in varying states of contradiction.