Reflectionist art creates symmetry between performer and audience (or recipient), in order to establish a "mirror" in which the audience sees itself and its own absurdity. It is a form of détournement that not only by appropriates the tools of the oppressor, but turns those same tools against the oppressor. Therefore, a reflectionist work appears to lack agency: no one confronts or attacks the viewer but his or her own image. For example, I have used the WearCam apparatus to record the activities of security guards whose establishment has placed me under involuntary surveillance, thus establishing a mirrorlike symmetry between us. I coined the term "Reflectionism" because of the movement's two goals: to create a "mirrorlike" symmetry, and to induce deep thought ("reflection") through the construction of this mirror. The origins of reflectionism are in the "surveillance situationist" tradition of resituating the video camera in a disturbing and disorienting fashion in order to challenge society's pre-concieved biases and notions of video surveillance.
For more on reflectionism, see Reflectionism and Diffusionism: New Tactics for Deconstructing the Video Surveillance Superhighway