Because of his inclusion of purposiveness in his conception of perfection, he argues that the perfect can please us "either because of its material, or because of its external form, or through its inner constitution, by means of which it is an instrument or means for the achievement of some final end" (ibid., p. 307).
Yet Wolff's conception of perfection was broad enough to include successful adaptation to an intended purpose, and thus in his analysis of our experience of architecture he emphasized our sense of the utility of structures as well as a sensory response to the kind of abstract form that could be considered an object of cognition.
For according to the traditional philosophical conception of divine perfection, God's perfection demands that He is absolutely simple, without any composition of any sort of parts.[16] So, God and the divine mind are not related to one another as a man and his mind, namely as a substance to one of its several powers, but whatever powers God has He is.
His positive ethical views are best understood as combining (i) a kind of consequentialist perfectionism as Nietzsche's implicit theory of the good, with (ii) a conception of human perfection involving both formal and substantive elements.
This does not look like a mathematically (or philosophically) interesting conception of perfect numbers, and the same is true of the other points Speusippus makes in favor of the perfection of the number 10.
In his extended discussion of architecture, however, he reveals a more subtle conception of the perfections and thus the "rules" of architecture.
That Oscar, for "the conception and perfection of techniques for color traveling matte composite cinematography," also went to Ub Iwerks and Wadsworth E. Pohl.
Her writings on the progress of the Christian soul toward God are recognized masterpieces: The Way of Perfection (1583), The Interior Castle (1588), Spiritual Relations, Exclamations of the Soul to God (1588), and Conceptions on the Love of God.
