In 1904, diverted by circumstance to Athens rather than Corfu, the brothers Freud found themselves unhappy by the change in destination. Standing on the Acropolis, an uncanny thought had entered Freud's mind: `So does this all really exist like we have learned it at school?' The experience seemed one of unreality, and Freud categorized it as `A Disturbance of Memory' during which he observed himself as separating into himself and another whose perception of the situation was an entirely different one. Spectators in the theatre of Dionysos, or any other theatre, anywhere and at any time, are willing participants in the conspiracy of this double act of looking that produces the exact double consciousness, or: autoscopic experience, that Freud describes so persuasively. In architectural discourse, the consideration of autoscopy in conjunction with processes of reverse projection, argued here to be a performative practice that engages with site in a critical discursive manner, poses a counterpart to phenomenological positions that speak of the identity of body and self
