In this snippet we have a class hierarchy with a SimpleMessage at the top. The SimpleMessage class has a constructor that accepts a content string as well as two methods: GetMessage; and, PrintMessage. Down the hierarchy we have three subclasses: ExcitedMessage; QuizzicalMessage; and, ExcitedAndQuizzicalMessage. The only difference in the subclasses is that they override the SimpleMessage constructor to change the content string and append various exclamations. When we instantiate various message objects, using the same content string, and iterate over them, each has their own unique output.


This difference becomes most important when there are several independent ways of extending functionality. In some object-oriented programming languages, classes cannot be created at runtime, and it is typically not possible to predict, at design time, what combinations of extensions will be needed. This would mean that a new class would have to be made for every possible combination. By contrast, decorators are objects, created at runtime, and can be combined on a per-use basis. The I/O Streams implementations of both Java and the .NET Framework incorporate the decorator pattern.

Color, made up of hue, saturation, and value, dispersed over a surface is the essence of painting, just as pitch and rhythm are the essence of music. Color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, white is. Some painters, theoreticians, writers and scientists, including Goethe,[3] Kandinsky,[4] and Newton,[5] have written their own color theory.


Painters deal practically with pigments,[6] so "blue" for a painter can be any of the blues: phthalocyanine blue, Prussian blue, indigo, Cobalt blue, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, means of painting. Colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music (like a C note) is analogous to "light" in painting, "shades" to dynamics, and "coloration" is to painting as the specific timbre of musical instruments is to music. These elements do not necessarily form a melody (in music) of themselves; rather, they can add different contexts to it.
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This book - The Painter - is a mockery of honesty and reality. Instead, this novel is a male fantasy. An emotional man, a painter, a fisherman, a loner, full of anger and rage, who doesn't hesitate to act on his feelings, defend his family with violence and sleeps with women like he is drinking water - not to mention he gives one woman 4 orgasms in one night. (insert your funny joke about me, the reviewer here)
This decorator works by storing the time just before the function starts running (at the line marked # 1) and just after the function finishes (at # 2). The time the function takes is then the difference between the two (at # 3). We use the time.perf_counter() function, which does a good job of measuring time intervals. Here are some examples of timings:
The .__init__() method must store a reference to the function and can do any other necessary initialization. The .__call__() method will be called instead of the decorated function. It does essentially the same thing as the wrapper() function in our earlier examples. Note that you need to use the functools.update_wrapper() function instead of @functools.wraps.
There is some history in Java using @ initially as a marker in Javadoc comments [24] and later in Java 1.5 for annotations [10], which are similar to Python decorators. The fact that @ was previously unused as a token in Python also means it's clear there is no possibility of such code being parsed by an earlier version of Python, leading to possibly subtle semantic bugs. It also means that ambiguity of what is a decorator and what isn't is removed. That said, @ is still a fairly arbitrary choice. Some have suggested using | instead.
Where The Dog Stars established Heller as a writer with a consistent, wickedly humorous voice, a formidable scene setter, and writer with philosophical underpinnings, this second novel shows those strengths fraying a bit. He’s adopting a voice here that isn’t always his own; he toys with the sentence structures of Hemingway and Raymond Carver, and the effect is a bit clumsy. However in the book’s second half he returns to vestiges of his first novel’s voice, and this is where his story becomes compelling.
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.
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