Brecht himself, meanwhile, was appalled by even the residually negative function of the aura, recording his response in his Workbook: “it is all mysticism mysticism, in a posture opposed to mysticism. … it is rather ghastly” (cited in Buck-Morss 1977, 149). Yet Adorno did not defend ‘auratic art’ as such. (His defence of autonomous art was grounded on the experience derived from following the ‘autonomous’ technical development of laws of form.) 