But a counter-reading, which Benjamin gestures toward in a footnote, draws the diminishment of the aura into question. This reading suggests that mechanical reproduction does not diminish aura, but rather creates it in the first place: without copies, there are no originals. At the heart of the hyper-Mona Lisa, a seething network of reproductions and alterations that encircles the globe, beats the original in the Louvre, which draws greater and greater crowds as copies circulate. (And those crowds, full of cameras, create more copies.) This fits with anthropological analyses of “authenticity,” which take it not as the stuff of unsullied originals, but rather as an active production, largely dependent on the construction of “inauthenticity” against which it is defined. Moreover, thanks to humans’ inexhaustible capacity for enchantment, one moment’s lifeless copies become the next moment’s auratic objects.