It is too long on video, but in performance it actually works to set up the trick similar to what I've done there.
(With your second point you are thinking like a magician and seeing the trick from that point of view. I'm going to play along with that just for the sake of having some fun. If you think about a card trick from the eyes of the audience, this is what you get when a card trick is done backwards.)
I had a specific trick in mind that I wanted to reverse. The cliché card trick that every beginner does terribly, usually involving a key card. What I've proposed is the reverse of that as far as the presentation is concerned. I would like to see if you can come up with something that you would call a backwards card trick. That is the best I have at the moment, and believe it or not, it works.
The issue with your idea of reversing a card trick that involves a selection is that you end up with a nonsense trick because the spectator has no clue what's going on or why. Also, all card tricks involving a selection done backwards would appear to have the magician select a card, lose it in the deck by some strange procedure or another, and then the spectator would find it. Take Now You See It (Chapter 7 of Royal Road to Card Magic) for instance. Done backwards from the ideal outcome it would begin with a card face up on the table amongst 3 others. The cards would be gathered in reverse order of what is described in the book, replaced in the deck, the deck would then be shuffled, and a card would be chosen. You have to get the cards on the table somehow in order to start the process of reversing the trick. That's going to look like the magician selecting the cards, unless you have a way to make them just appear there.
Lets assume you can make them appear, how then do you hold the spectators attention and have the trick make sense to them? You have to set the trick up some how. If you present it with your patter read from the bottom up instead of the top down, it makes no sense and looks something like this.... (You'll have to imagine the other side of the conversation and the corresponding actions.)
"That's your card? Awesome"
"Turn over the card you touched"
"Touch a card please"
"It looks like I haven't found your card. I'll just do a different trick."
"Are either of these your card?"
"Is this your card?"
"Is this your card?"
"I'll take the deck back please... Thanks. I'm now going to attempt to find your card...the boring way. I have to look through the deck. To make matters worse, it takes me 4 tries."
"Please replace your card in the deck and shuffle the cards"
"Pick a card"
That's nonsense unless you read it in the right order, from the bottom up. With the trick I've presented, however boring and poorly done it was, I took a simple trick that everyone is familiar with, a chosen card is found in the deck, and did the actions and presentation of the most simple version of that plot backwards. You can't really reverse an ACR, unless you count having the card jump to the bottom instead of the top as reversing the trick. Beginning an ACR with the card jumping is not going to hold anyones attention because they have nothing invested in the trick, and if it does hold their attention because they're amazed at what's happening, when you have them pick the card, they're probably going to want you to do something with it, although they may be amazed that they chose the card that was the card that was jumping.
I've already written an essay, so I will cover transposition tricks and assembly effects with two or three sentences. I've attempted to reverse a transpo, it's confusing because you have to somehow make the audience think that the cards aren't where they're supposed to be, then show that they are. An assembly done backwards is mildly anti-climactic and worse than when done forwards.
That's my 2 cents, even though I wrote more than 2 cents worth.