Two decorators (classmethod() and staticmethod()) have been available in Python since version 2.2. It's been assumed since approximately that time that some syntactic support for them would eventually be added to the language. Given this assumption, one might wonder why it's been so difficult to arrive at a consensus. Discussions have raged off-and-on at times in both comp.lang.python and the python-dev mailing list about how best to implement function decorators. There is no one clear reason why this should be so, but a few problems seem to be most divisive.
In general, functions in Python may also have side effects rather than just turning an input into an output. The print() function is a basic example of this: it returns None while having the side effect of outputting something to the console. However, to understand decorators, it is enough to think about functions as something that turns given arguments into a value.
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.
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Action painting, sometimes called gestural abstraction, is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied.[32] The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. The style was widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms "action painting" and "abstract expressionism" interchangeably).

Ink paintings are done with a liquid that contains pigments and/or dyes and is used to color a surface to produce an image, text, or design. Ink is used for drawing with a pen, brush, or quill. Ink can be a complex medium, composed of solvents, pigments, dyes, resins, lubricants, solubilizers, surfactants, particulate matter, fluorescers, and other materials. The components of inks serve many purposes; the ink’s carrier, colorants, and other additives control flow and thickness of the ink and its appearance when dry.
The discussion continued on and off on python-dev from February 2002 through July 2004. Hundreds and hundreds of posts were made, with people proposing many possible syntax variations. Guido took a list of proposals to EuroPython 2004 [7], where a discussion took place. Subsequent to this, he decided that we'd have the Java-style [10] @decorator syntax, and this appeared for the first time in 2.4a2. Barry Warsaw named this the 'pie-decorator' syntax, in honor of the Pie-thon Parrot shootout which occurred around the same time as the decorator syntax, and because the @ looks a little like a pie. Guido outlined his case [8] on Python-dev, including this piece [9] on some of the (many) rejected forms.
As an example, consider a window in a windowing system. To allow scrolling of the window's contents, one may wish to add horizontal or vertical scrollbars to it, as appropriate. Assume windows are represented by instances of the Window interface, and assume this class has no functionality for adding scrollbars. One could create a subclass ScrollingWindow that provides them, or create a ScrollingWindowDecorator that adds this functionality to existing Window objects. At this point, either solution would be fine.
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Aesthetics is the study of art and beauty; it was an important issue for 18th- and 19th-century philosophers such as Kant and Hegel. Classical philosophers like Plato and Aristotle also theorized about art and painting in particular. Plato disregarded painters (as well as sculptors) in his philosophical system; he maintained that painting cannot depict the truth—it is a copy of reality (a shadow of the world of ideas) and is nothing but a craft, similar to shoemaking or iron casting.[9] By the time of Leonardo, painting had become a closer representation of the truth than painting was in Ancient Greece. Leonardo da Vinci, on the contrary, said that "Italian: La Pittura è cosa mentale" ("English: painting is a thing of the mind").[10] Kant distinguished between Beauty and the Sublime, in terms that clearly gave priority to the former.[citation needed] Although he did not refer to painting in particular, this concept was taken up by painters such as J.M.W. Turner and Caspar David Friedrich.
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