Artist as reflector

1. What does "the artist as reflector" mean? "the artist as performer" is the natural role of the artist, but how does the monitor result in the role of "artist as reflector"? Can you understand the two roles of being a performer and being a reflector in relation to a monitor?

2. Does "constructing a plane of vision that begins with the artist and ends at the eyes of his projected double" mean "this artwork begins with the eyes of the real artist in front of the camera and ends with the eyes of the image of the artist on the monitor"?

Context:

In the 1970s, video technology was characterised by the feedback loop and the monitor, as inherited from television and imported into art practice by artists such as Bruce Nauman, Vito Acconci, Joan Jonas, Richard Serra and Nancy Holt. For Krauss, the narcissistic element of video rules out a material consciousness of space and time both within the medium itself and in terms of the response it might generate from a spectator. Instead, she says the monitor behaves like a mirror which creates a self-enclosed loop between the artist as performer and the artist as reflector, positions which are encouraged by the technology, which centres the body ‘between two machines that are the opening and closing of a parenthesis’. This is epitomised in Acconci’s Centers, 1971, in which the artist records himself pointing at the centre of the monitor for 20 minutes, an action Krauss describes as constructing a plane of vision that begins with the artist and ends at the eyes of his projected double. In Airtime, 1973, Acconci speaks into a microphone in front of an actual mirror which doubles the spatial closure and self-reflection inherent in the medium of video.