“Shortly after this thing unleashed itself and we were put on lockdown, something in me broke psychologically,” he said. “It took me several days to work through the fact that friends of mine were on the front lines of this thing. It was so intense. It still is.”

Not one to give in to despair, Mr. Kosoko has reconfigured “Chameleon” in order to bring people together from around the world, “for idea sharing, for resource sharing, and hopefully for healing,” he said. He calls it “a global gesture in listening.”

“We need possibility in this moment,” he added, “and so that’s really what I’m trying to propose: a space to dream, to imagine, and to do that in community.”

The day’s offerings include the release of the digital zine “Chameleon: A Syllabus for Survival”; the streaming of a prerecorded conversation between Mr. Kosoko and the choreographer Bill T. Jones; the premiere of an excerpt from the coming film “Chameleon: A Visual Album”; and a performance of “Pidgin Chorus,” a vocal section of “Chameleon,” by the work’s collaborators. Mr. Kosoko plans to host at least some of these events on Discord, a chat app used mostly by video game enthusiasts; anyone who prefers a less interactive experience can tune in on YouTube Live.

In organizing the online gathering, Mr. Kosoko has worked with the Curtis R. Priem Experimental Media and Performing Arts Center (better known as Empac) in Troy, N.Y., where he has had several creative residencies for “Chameleon.” It was Empac’s engineers who introduced him to Discord, a platform that allows users to hear but not see one another.

Ashley Ferro-Murray, Empac’s curator of theater and dance, has been meeting with Mr. Kosoko on Discord to test it out. She said that at times, although she can’t see him, she feels as if they are physically present together.