Using functions with "action-at-a-distance" through sys.settraceback may be okay for an obscure feature that can't be had any other way yet doesn't merit changes to the language, but that's not the situation for decorators. The widely held view here is that decorators need to be added as a syntactic feature to avoid the problems with the postfix notation used in 2.2 and 2.3. Decorators are slated to be an important new language feature and their design needs to be forward-looking, not constrained by what can be implemented in 2.3.
Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid/paste is then applied to a surface—usually prepared wood, though canvas and other materials are often used. The simplest encaustic mixture can be made from adding pigments to beeswax, but there are several other recipes that can be used—some containing other types of waxes, damar resin, linseed oil, or other ingredients. Pure, powdered pigments can be purchased and used, though some mixtures use oil paints or other forms of pigment. Metal tools and special brushes can be used to shape the paint before it cools, or heated metal tools can be used to manipulate the wax once it has cooled onto the surface. Other materials can be encased or collaged into the surface, or layered, using the encaustic medium to adhere it to the surface.
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The decorate() proposal was that no new syntax be implemented -- instead a magic function that used introspection to manipulate the following function. Both Jp Calderone and Philip Eby produced implementations of functions that did this. Guido was pretty firmly against this -- with no new syntax, the magicness of a function like this is extremely high:
Rhythm is important in painting as it is in music. If one defines rhythm as "a pause incorporated into a sequence", then there can be rhythm in paintings. These pauses allow creative force to intervene and add new creations—form, melody, coloration. The distribution of form, or any kind of information is of crucial importance in the given work of art, and it directly affects the aesthetic value of that work. This is because the aesthetical value is functionality dependent, i.e. the freedom (of movement) of perception is perceived as beauty. Free flow of energy, in art as well as in other forms of "techne", directly contributes to the aesthetical value.