 But some advocates of design arguments had been reaching for a deeper intuition. The intuition they were attempting to capture involved properties that in and of themselves constituted some degree of evidence for design—properties that were not merely constantly conjoined, for whatever reason, with instances of design. The specific Rs were singled out not just because such properties happened to be often or even only produced by designing agents. (Garbage heaps fit that description.) Advocates were convinced that the appropriate Rs in question were in their own right directly reflective of and redolent of cognition, that this directly suggested mind, that we could see nearly directly that they were the general sort of thing that a mind might or even would generate, and that consequently they did not depend for their evidential force upon previously established constant conjunctions or other associations with known instances of design. When we see a text version of the Gettysburg Address, that text says mind to us in a way totally unrelated to any induction or analogy from past encounters with written texts. It was that type of testimony to mind, to design, that some historical advocates of design arguments believed that they found in some Rs observed in nature—a testimony having no dependency on induction or analogy. Beauty, purpose and in general value especially when conjoined with delicate complexity were popular underlying intuitive marks. Intricate, dynamic, stable, functioning order of the sort we encounter in nature was frequently placed in this category. Such order was taken to be suggestive of minds in that it seemed nearly self-evidently the sort of thing minds, and so far as was definitively known, only minds were prone to produce. It was a property whose mind-resonating character we could unhesitatingly attribute to intent.