The "mingei" boom led to a number of paradoxes affecting Yanagi's original theory of folk crafts. (1) Yanagi had argued that beauty would "be born" (rather than "created") only in a "communal" society, where people cooperated with one another. Such cooperation bound not only one man to another, but man to nature. Folk crafts were in this respect "communal arts". However, consumer demand for "mingei" objects led to increased mechanisation of production processes which, in themselves, relied far less on cooperative work and labour exchanges than they had in the past. (2) Mechanisation also led to less reliance on, and use of, natural materials – something that Yanagi had insisted upon as essential to his concept of beauty – something which also deprived modern "mingei" of its specifically "local" qualities. (3) Both media exposure and consumer demand encouraged the emergence of the artist-craftsman ("geijutsuka", ) intent on making money, and to the gradual disappearance of the less profit-motivated "unknown craftsman". Consequently, (4) "mingei" as "folk "craft"" gradually came to be seen as "mingei" as "folk "art"". (For further analysis, see)