Nachträglichkeit

'I submit that we all are within a camera obscura. We all project upon the inner screen (the wake/dream screen) the images. story lines, sound tracks of our own "home movies". These are mingled with the perceptions of our outer world that come through a pin hole (touch, vision, kinesthetic, auditory stimuli, etc.) in the wall of the camera obscura.

In this "in between", this space of intersubjectivity, one can see within the co-mingling how the past lived experience of one's home movies might be restructured, redirected and reinterpreted. One can also see how one's interaction with one's environment can be influenced by one's home movies. Without one's home movies in the camera obscura there could conceivably be an immaculate conception/perception.

Therapeutic action is done by means of recognition scenes. One recognizes one's "me-ness" in the projections of both the external environment and one's home movies. […]

Nachträglichkeit [deferred action] is the theory of transference’

Donald J. Coleman "Nachträglichkeit" and "Mimesis“ (1997)