Wyniki wyszukiwania - Biblioteka Nauki

1

Influence of Overpressure Breathing on Vowel Formant Frequencies

100%

Vojnović M. , Mijić M. , Šumarac Pavlović D. , Vojnović N.

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2021

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tom Vol. 46, No. 1

177--181

EN

Voice controlled management systems are based on speech recognition techniques. The use of such systems in combat aircraft is complex due to a number of critical factors which affect the accuracy of speech recognition, such as high level of ambient noise and vibration, use of oxygen masks, serious psycho-physical stress of speakers, etc. One of the specificity of the oxygen mask application is overpressure breathing. The results of the simulations presented in this paper show that the presence of overpressure on the order of 1000 Pa in the vocal tract has a significant influence on the first two formant frequencies. The formants discrimination field is significantly reduced when oxygen mask is used, influencing both perceptive and automatic discrimination of spoken vowels.

2

Wcielenie czy maska? O dynamice ontycznej świata przedstawionego w twórczości literackiej i myśli teoretycznej Brunona Schulza

100%

Hanuszkiewicz M. M.

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nr 37

EN

Marcin Michał HanuszkiewiczInstitute of English Cultures and LiteraturesFaculty of PhilologyUniversity of Silesia in KatowicePoland A Mask or an Incarnation? On the Ontic Dynamics of the Fictional Universe in the Works and Theories of Bruno Schulz Abstract: The essay is an attempt to look at the literature of Bruno Schulz as an entity profoundly connected with his worldview and engaged in a complex interaction with reality. Determining the nature of this interaction constitutes another facet of this essay’s aim. Two interpretations of this twofold influence are considered – one sees it as an operation of masking, while the other perceives it as an act of manifestation or incarnation. The contemplation of the subject matter takes the form of a discussion with Schulz’s literary and theoretical texts, and is supported by analyses performed by schulzologists and by elements from semiotic and mythological theories. With the help of these tools, an interplay of the categories of “mask” and “incarnation” is defined as permeating Schulz’s works. It is only at the level of his understanding of mythology that the category of incarnation triumphs. Keywords: mask, Bruno Schulz

PL

For an abstract in English, scroll downMarcin Michał HanuszkiewiczInstytut Kultur i Literatur AnglojęzycznychWydział Filologiczny Uniwersytet Śląski w Katowicach Wcielenie czy maska? O dynamice ontycznej świata przedstawionego w twórczości literackiej i myśli teoretycznej Brunona Schulza Abstrakt: Esej pt. Wcielenie czy maska? O dynamice ontycznej świata przedstawionego w twórczości literackiej i myśli teoretycznej Brunona Schulza stanowi próbę spojrzenia na literaturę Brunona Schulza jako na sprzężony z jego światopoglądem twór wchodzący w interakcję z rzeczywistością, a także ustalenia, jaka jest natura tego oddziaływania. Rozważaniom poddane zostają dwie interpretacje rzeczonej interakcji – jako działania maskującego jakąś rzeczywistość oraz jako aktu manifestującego istnienie jakiejś rzeczywistości. Refleksja odbywa się w formie dyskusji prowadzonej z tekstami literackimi i teoretycznymi Schulza, wspomagana jest również analizami schulzologów oraz elementami semiotyki i współczesnej teorii mitu. Przy pomocy tych narzędzi określona zostaje wzajemna gra kategorii maski i wcielenia, które to kategorie w dziele Schulza przenikają się wzajemnie. Dopiero na płaszczyźnie schulzowsko pojmowanego mitu okazuje się istnieć przewaga kategorii wcielenia. Słowa kluczowe: Bruno Schulz, maska A Mask or an Incarnation? On the Ontic Dynamics of the Fictional Universe in the Works and Theories of Bruno SchulzAbstract: The essay entitled “Mask or Incarnation? On the Ontic Dynamics of the Fictional Universe in the Works and Theories of Bruno Schulz” is an attempt to look at the literature of Bruno Schulz as an entity profoundly connected with his worldview and engaged in a complex interaction with reality. Determining the nature of this interaction constitutes another facet of this essay’s aim. Two interpretations of this twofold influence are considered – one sees it as an operation of masking, while the other perceives it as an act of manifestation or incarnation. The contemplation of the subject matter takes the form of a discussion with Schulz’s literary and theoretical texts, and is supported by analyses performed by schulzologists and by elements from semiotic and mythological theories. With the help of these tools, an interplay of the categories of “mask” and “incarnation” is defined as permeating Schulz’s works. It is only at the level of his understanding of mythology that the category of incarnation triumphs.Keywords: Bruno Schulz, mask

3

Transfer Characteristics of Vocal Tract Closed by Mask Cavity

100%

Vojnović M. , Mijić M. , Šumarac Pavlović D.

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tom Vol. 43, No. 2

307--311

EN

This paper analyses the changes in transfer characteristics of the vocal tract when closed by a mask, i.e. a chamber. The analysis was performed in two ways: by analytical estimation and by measurements in the vocal tract physical model for the case of mask with inner volume V = 430 cm3, corresponding to the oxygen masks used in combat airplanes. It was shown that closing the vocal tract with a mask cavity increases the first formant frequency by about 10% in front and high vowels (/e/, /i/, and /u/) and the frequencies of the first two formants by about 5% in the remaining two vowels (/a/ and /o/). It was also revealed that longitudinal and transversal resonances in the mask chamber can lead to errors in the recognition of the vowel formant frequencies. The results point to the need for additional knowledge about resonances in mask application.

4

The Role of Faster R-CNN Algorithm in the Internet of Things to Detect Mask Wearing: The Endemic Preparations

100%

Nasution M. D. , Al-Khowarizmi , Rahmat R. F. , Lubis A. R. , Lubis M.

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tom Vol. 69, No. 4

691--696

EN

Faster R-CNN is an algorithm development that continuously starts from CNN then R-CNN and Faster R-CNN. The development of the algorithm is needed to test whether the heuristic algorithm has optimal provisions. Broadly speaking, faster R-CNN is included in algorithms that are able to solve neural network and machine learning problems to detect a moving object. One of the moving objects in the current phenomenon is the use of masks. Where various countries in the world have issued endemic orations after the Covid 19 pandemic occurred. Detection tool has been prepared that has been tested at the mandatory mask door, namely for mask users. In this paper, the role of the Faster R-CNN algorithm has been carried out to detect masks poured on Internet of Thinks (IoT) devices to automatically open doors for standard mask users. From the results received that testing on the detection of moving mask objects when used reaches 100% optimal at a distance of 0.5 to 1 meter and 95% at a distance of 1.5 to 2 meters so that the process of sending detection signals to IoT devices can be carried out at a distance of 1 meter at the position mask users to automatic doors.

5

Карнавальний топос маски у романах Вiтольда Гомбровича Фердидурке та Гео Шкурупiя Дверi в день

88%

Журба С.

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2017

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nr 22/3

51-59

EN

The article is devoted to the study of the features of the mask topos in the novels of Witold Gombrowich Ferdydurke and Geo Shkurupia Doors in the day. On the basis of the basic concepts of carnivalization of Mikhail Bakhtin, features of the functioning of the mask image are considered, which is one of the means of expressing new forms of communication with the recipient and the metaphorical language. The mask in the experimental / avant-garde works determines the individual characters of the characters, contributes to the irony of the grotesque. The mask-stereotype in the novel by Witold Gombrowich is the bearer of a certain set of values of the hero, Geo Shkurupii through the mask of the death of the hero demonstrates the existential choice of the hero.

6

W cieniu masek. O problemach tożsamościowych w kryminałach Gai Grzegorzewskiej

88%

Orządała O.

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nr 8

245-257

EN

The article focuses on presenting identity problems of the main protagonists in Gaja Grzegorzewska’scrime novels. The problems concern personal, gender, and sexual identity. The characterswear various masks, hiding their true “selves”. The paper presents homosexuality, bisexuality, androgynyand the deconstruction of stereotypical female and male characteristics. Finally, the articleraises the problem of creating different masks and the constant identity changing among characters.

7

Teorie pochodzenia Pulcinelli i jego związki z antykiem

88%

Sterna M.

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tom 18

101-109

EN

A discussion on the origin of Pulcinella, the most important mask of Neapolitan Theatre, is the subject matter of the following article. At the beginning, I will present the characteristics of this figure including his symbolism. Then, I will discuss possible connections of Pulcinella with some dramatic forms of ancient theatre. At the same time, I will describe a review of study of this figure specifying the most important phases of this research. The conclusion of this article will consist of the summary of the results of carried out analysis.

8

Influence of Overpressure Breathing on Vowel Formant Frequencies

88%

Vojnović M. , Mijić M. , Šumarac Pavlović D. , Vojnović N. , Vojnović M. , Mijić M. , Šumarac Pavlović D. , Vojnović N.

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nr 1

9

Panmaskarada. Maski i maskowanie u Brunona Schulza

75%

Tomczok P.

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nr 37

EN

Paweł TomczokInstitute of Polish LiteratureFaculty of PhilologyUniversity of Silesia in KatowicePolandPanmasquerade. Masks and Masking in Bruno Schulz’s Fiction Abstract: The author of this article analyses different meanings of mask in Bruno Schulz’s fiction and non-fiction. In his critical statements Schulz contrasts mask with substance, the latter capable of assuming various masks. Taking into account the context of Cinnamon Shops, this can be read as a commentary on Schulz’s writing practice and as a strategy thus to mask his own biography. Another theme discussed in this article is that of the relation between mask and face in Schulz’s short stories. This discussion focuses on the social context of the different representations of the face and on the elimination of dialogues from the narratives: the narrator treats the characters’ facial features as source of knowledge about the world, rather than conversations with them. Keywords: Bruno Schulz, mask, autobiography

PL

For and abstract in Polish, scroll downPaweł TomczokInstitute of Polish LiteratureFaculty of PhilologyUniversity of Silesia in KatowicePolandPanmasquerade. Masks and Masking in Bruno Schulz’s Fiction Abstract: The author of this article analyses different meanings of mask in Bruno Schulz’s fiction and non-fiction. In his critical statements Schulz contrasts mask with substance, the latter capable of assuming various masks. Taking into account the context of Cinnamon Shops, this can be read as a commentary on Schulz’s writing practice and as a strategy thus to mask his own biography. Another theme discussed in this article is that of the relation between mask and face in Schulz’s short stories. This discussion focuses on the social context of the different representations of the face and on the elimination of dialogues from the narratives: the narrator treats the characters’ facial features as source of knowledge about the world, rather than conversations with them. Keywords: Bruno Schulz, mask, autobiographyFor abstract in English, scroll down.Panmaskarada. Maski i maskowanie u Brunona SchulzaAbstrakt: Celem artykułu jest omówienie różnych znaczeń maski w prozie i eseistyce Brunona Schulza. W wypowiedziach krytycznych pisarz wprowadza opozycję między maską a substancją – substancja przyjmuje różne maski. Te wypowiedzi odnoszą się także do praktyki pisarskiej autora Sklepów cynamonowych, który dokonuje zamaskowania własnej biografii. W artykule omawiam także relację między maską a twarzą w opowiadaniach Schulza – a szczególnie kontekst społeczny różnych przedstawień twarzy oraz zagadnienia eliminacji dialogu z opowiadań. Narrator nie czerpie informacji o świecie z rozmów z bohaterami, lecz raczej opisuje ich fizjonomię.Słowa kluczowe: Bruno Schulz, Bruno Schulz, maska, autobiografia

10

Afrykański rynek antykwaryczny. Między autentycznością a komercją. Przypadek Dogonów i Sombów

75%

Buchalik L.

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2018

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nr 47

101-126

EN

The emergence of mass tourism has resulted in changes taking place in the art of West African peoples. As a result, the demand for “original African souvenirs” has increased and practically industrial, mass production of “African art” has emerged. This phenomenon has been analysed on the example of two peoples strongly influenced by tourists (the Dogon and Somba people) and peoples moderately affected by this phenomenon. Changes can be clearly seen when comparing the art of the peoples of West Africa from the beginning of the 20th century, when there mass tourism did not exist, with the art of the early 21st century. Some of them arise from changes taking place inside a given culture as a result of a natural transformation process. Others arise from external changes caused by a mass interest in the art and works of local craftsmen. Masks and sculptures — the main objects of interest for visitors looking for an attractive souvenir — are changing as a result of customer expectations. Artisan art, most frequently encountered by tourists, although referring to the traditional art of peoples visited by them, responds primarily to the tourists’ demands. Some products are inspired by the tastes of the visiting tourists. In order to sell the products, a craftsman has to react quickly to the customer’s needs. The object of traditional art with all its rich symbolism has been taken out of the country of origin; it has become not a souvenir of a stay in the visited area only, but of a visit to Africa as such. A problem has recently arisen as to what is a copy and what is an original work of art. In the concept of European art, there is only one original work — every other object that looks the same is a copy or a forgery. In artisan art and museums there are many similar masks, sculptures and other objects with artistic qualities, differing only in terms of details and precision, and yet an ethnologist will not refer to them as counterfeits.

11

Śladami tura

75%

Budziszewska W.

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tom 7

47–51

PL

Słowo tur występuje w większości języków słowiańskich. Tur to wymarły gatunek dzikiego byka, przodek bydła domowego. Odznaczał się lekką budową i wielkimi, zagiętymi ku przodowi rogami. U Słowian tur był niewątpliwie zwierzęciem totemicznym, od którego zależał przyrost zarówno na polu, jak i w rodzinie. Później stał się celem królewskich i książęcych łowów. Gdy wyginął, zatarła się pamięć jego wyglądu, ale zostały słowa kolędy i maski, wyobrażające różne zwierzęta, a nawet ptaki. Zachowało się trochę, nawiązujących do słowa tur, nazw botanicznych, np. pol. turzyca piaskowa, czy zapożyczona od Słowian rum. turiţă ‘przytulia’.

EN

The word tur [aurochs] is found in most of the Slavic languages. The aurochs is an extinct species of the wild bull, the ancestor of domestic cattle. The aurochs was lightly built and had massive horns facing forward. The aurochs was without a doubt a totemic animal for the Slavs, upon which depended the growth both in the field as well as in the family. Later, kings and princes hunted for auchors. When the species was wiped out, the memory of its appearance disappeared, but what was left were lyrics of Christmas carols and masks depicting various animals, even including birds. A few botanical names referring to the word tur were preserved in the Polish language, e.g. turzyca pisakowa [carex arenaria or sand sedge], or the Romanian turiţă / przytulia [Galium aparine or catchweed] a loan from the Slavic languages.

12

Transfer Characteristics of Vocal Tract Closed by Mask Cavity

75%

Vojnović M. , Mijić M. , Šumarac-Pavlović D.

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13

(Nie)widowiskowe ciała (nie) idą na wojnę. Uniformy i dyscyplina

63%

Muller A.

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nr 37

EN

Alicja MullerFaculty of Polish Jagiellonian UniversityPoland (Un)spectacular Bodies (Do Not) Go to War Uniforms and DisciplineAbstract: The aim of this article is to present uniforms (or costumes) as masks used by the disciplinary authority to control and change bodies. By the word “costume” I understand both the material object and a repertoire of abstract rules according to which bodies are formed and trained. Defined in this way, the mask is a medium which, on the one hand, covers the individual characteristics of whoever wears it, and, on the other, somehow directs his or hers actions. To describe this mechanism, I choose two seemingly different spaces: classic ballet and the military. I show that in both disciplinary power operates on similar – perhaps even identical – principles. In the first part of the article, I develop the concept of mask-costume, focusing on its theatrical character. In the second part, I study two texts of culture: Cezary Tomaszewski’s play Cezary goes to war (2017) and Artur Żmijewski’s short film KRWP (2000). They provide excellent material to exemplify my initial diagnoses. Keywords: mask, body, power, ballet

PL

(For abstract in English scroll down)Celem tego artykułu jest przedstawienie uniformów/kostiumów jako masek, które władza dyscyplinująca nakłada na podmioty. Przez kostium rozumiem zarówno materialny obiekt, jak i abstrakcyjny zbiór zasad, zgodnie z którymi formowane lub tresowane są ciała. Tak definiowana maska jest medium, które z jednej strony zakrywa indywidualne cechy tego, kto ją nosi, z drugiej – w pewien sposób reżyseruje podmiot. Do opisu tego mechanizmu wybieram dwie – pozornie zupełnie różne – przestrzenie: balet klasyczny i wojsko, w których – jak się okazuje – władza dyscyplinująca działa na podobnych, a może nawet tożsamych, zasadach. W pierwszej części artykułu rozwijam koncepcję maski-kostiumu, skupiając się na jej teatralnym charakterze. W drugiej części opisuję zaś dwa teksty kultury: spektakl Cezarego Tomaszewskiego Cezary idzie na wojnę (2017) oraz film Artura Żmijewskiego KRWP (2000), które wydają mi się doskonałą egzemplifikacją wyjściowych diagnoz. Summary: (Un)spectacular bodies (do not) go to war. Uniforms and discipline The aim of this article is to present uniforms (or costumes) as masks that are used by the disciplinary authority to control and change bodies. By the word “costume” I understand both the material object and the abstract repertoire of rules, according to which bodies are formed or trained. The mask, which is defined in this way, is a medium that on the one hand, covers the individual characteristics of whoever wears it, on the othe it directs, in a way, his or hers actions. To describe this mechanism, I choose two seemingly different spaces: classic ballet and military, in which, as I’m going to prove, disciplinary power operates on similar, or even identical, principles. In the first part of the article, I develop the concept of mask-costume, focusing on its theatrical character. In the second part, I describe two texts of culture: Cezary Tomaszewski’s play Cezary goes to war (2017) and Artur Żmijewski's short film KRWP (2000), which seem to be a perfect exemplification of my initial diagnoses.

14

PRAWDA, PRAWDOMÓWNOŚĆ, KŁAMSTWO

63%

Leszczyński A.

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nr 5/I

7-23

PL

Opozycja: prawda – fałsz dotyczy wiedzy i przynależy do obszaru epistemologii. Opozycja: prawdomówność – kłamstwo wiąże się z uczciwością lub jej brakiem i ma charakter moralny. Kłamstwo dokonuje się w języku (najczęściej werbalnym), który odbiega od tzw. mowy wewnętrznej (myśli, świadomości). Prawdomówność, jeśli znajdzie się w konflikcie z innymi wartościami, zmusza do aktu tragicznego, wyboru tzw. mniejszego zła. Nieszczerość rozumiana jako maska kultury stanowi trwały element relacji międzyludzkich. Może stać się czynnikiem destrukcyjnym, gdy obejmuje także relacje prywatne bądź intymne.

EN

Opposition: truth – falsity concerns knowledge and belongs to the area of epistemology. Opposition: truthfulness – lie connects with honesty or its lack and has moral character. Lie comes up in language (most often verbal), which differs from so called internal speech (thought, consciousness). Truthfulness, if it finds in conflict with other values, forces to the tragic act – choice of so called smaller evil. Insincerity understood as a mask of culture constitutes permanent element of relations between people. It may become destructive factor, if also embraces private and intimate relations.

15

Magična moćmaski kao paradigma iluzije stvarnosti u drami Ive Vojnovića „Maškarate ispod kuplja”

63%

Pivac A.

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nr 4

EN

The present paper analyses Ivo Vojnović’s drama Maškarate ispod kuplja by intending to emphasize the importance of carnival masks considered as instruments of liberation of individuals from social conformism. The protagonists of Vojnović’s Maškarate show their non-conformist faces and experience freedom only incarnival season. The carnival is described as the allegory of surreal and phantasmagoric world displaying pseudo-realistic situations that represent the deformed face or, rather, the alter of the masked reality. Masks are, therefore, perceived as shields from the frustrating reality and external influences, whereas life under masks is understood as the perfect model of concealing internal weaknesses and insecurities. The enchanting carnival atmosphere enables the protagonists to openly show the suppressed personality and personal choices. The clear model of searching for the illusion of the truth and the truth of the illusion is also shown, notwithstanding the complicating conditions of the emotional world of the protagonist-symbol who creates false identity provoked and conditioned by external factors. The influence of the Italian grotesque theatre has been reported as well, whereas the similarities have been perceived in particular in the behavioral pattern of the protagonists and perception of time and place as metaphysical categories. The determination of the level of interdependence between the Croatian author and the Italian role models has also been possible. The comparison with the Italian literary contemporaries has been performed by examining the intertextual correspondences in particular related to the selection of the „carnivalesque” motives.

16

Топас маскi ў драматургiчнай спадчыне Кандрата Крапiвы

51%

Тарасава Т.

Białorutenistyka Białostocka

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2016

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tom 8

PL

Motyw maski – ważny wskaźnik zmian i przedmiot rozważań – należy do kultury XX wieku. Obraz maski i temat maskarady wykorzystują twórcy – przedstawiciele różnych tradycji narodowych – w wybranych formach gatunkowych. Maskarada wiąże się z kłamstwem, reinkarnacją, z problemami realnymi i nierealnymi, utratą własnej tożsamości. Popularność motywu maski w literaturze dwudziestowiecznej jest wyjątkowa: maska występuje na poziomie tematu, motywu, struktury obrazu, sposobu tworzenia utworu. Na przykład, w sztukach Kondrata Krapiwy pojawia się motyw maski i maskarada jako zespół zjawisk kulturowych w literaturze narodowej.

EN

The mask motif which became a significant element of the 20th century culture is not only an important indicator of paradigmatic change, but also a subject of reflection. Artists of different national and cultural backgrounds often use the image of the mask in various genre forms. Masquerade theme is associated with deception, reincarnation, the problems of the real and unreal, the loss of identity. The range of application of the mask motif in the 20th century literature is very wide: the mask may be present on the thematic or motif level, or on the level of image structure. For example, Kondrat Krapiva’s plays “Who Laughs Last,” “My Dear Fellow,” “The Gate of Immortality” use the mask motif, the masquerade theme as a complex of cultural phenomena of national literature.

17

Mask and shame of ageing

51%

Barański J.

Internetowy Magazyn Filozoficzny Hybris

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2016

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tom 32

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nr 1

1-18

EN

The concept of ageing as a mask refers to, according to M. Featherstone and M. Hepworth, the tension between the identity and experiencing one’s own, aging body. There is a growing disparity between the body and “ I" in the elderly, which results from the fact that they lose “ symbolic capital" and do not accept their own bodies with their mental and physical limitations. Old age exposes and becomes a symbolic nudity, a source of shame in the culture full of images of beautiful, young, physically fit and sexually attractive bodies. We compensate shame and the loss of the symbolic vestment by rejuvenating our bodies and suppressing negative emotions. Old age has become painful, because people live longer than ever before. To justify all treatments aimed at prolonging life, contemporary culture has taken for granted the idea of Hufelad from 1897: “ Long life has always been the main desire and goal of humanity" [1905, 6]. Now, when we embark on prolonging life, we face the problems of recognizing the sense of identity and its social expression in the process of extended ageing, the relationship between our identity and our aging body, which is still an existential project.

18

First Lithuanian Museum – Baublys in Dionizas Poška’s Garden

51%

Katinaitė D.

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tom 27

117-130

EN

This article discusses Baublys – a nineteenth-century garden pavilion in Lithuania, Samogitia, established in the trunk of an oak tree by Lithuanian boyar and writer Dionizas Poška. Because of its ambiguity, Baublys has attracted considerable scholarly attention and, for the same reason, remains forgotten, generating a relatively small number of texts. Although interpretations vary, the place of Baublys in Lithuanian culture is still unclear. What is it? Is it a regional curiosity or a proto-museum? This article looks at Baublys through its function and aims at demonstrating that Baublys is not only a proto-museum, but also a prototype of today’s interactive museum, containing the analogues of modern practices of museology: interactivity, communicational features and performativity. My methodology is constructed invoking the conceptual metaphor of the mask and referring to the theories of Hans Belting and Mikhail Bakhtin. According to the Bakhtinian dialogic imagination and literary concepts of the epic and the novel, the analogy of the mask and the monument is used. The research question is what Baublys does as a mask during Poška’s lifetime and what it does as a monument today. How did its semantics and agency change after “becoming” a monument? The article shows that for Poška Baublys is a theatre of historical and personal memory, activated by structure, a set of finds, analogues (Sibile Temple, other garden pavilions) and performance. An empty Baublys is a monument – a reference to the past, which lacks the collection of the museum – Poška’s finds. Baublys is not only a museum, but might be perceived as a monument to museums, even a monument to the idea of a museum.

19

PAINTBALL JAKO JEDNA Z FORM TURYSTYKI PRZYGODOWEJ

51%

Chmiel A. , Drozdek-Małolepsza T.

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2016

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nr 1(17)

25-51

XX

Paintball to gra łącząca sport i rekreację, co w zestawieniu z wyjazdami do innych miejscowości wiąże ją także z turystyką. Jest zatem sportem, rekreacją, którą uprawiać mogą ludzie niezależnie od wieku, płci i profesji, a liczy się przede wszystkim inteligencja, stanowczość, szybkość podejmowania decyzji i determinacja, a zdecydowanie najmniej – siła. U podstaw tej gry stoi bardzo często chęć urzeczywistnienia młodzieńczych marzeń i ich realizacji bez względu na wiek, uczestnicy bowiem walczą i bawią się w wojnę, ale bez rannych i zabitych, gdyż zamiast karabinów bojowych posługują się specjalną bronią pneumatyczną strzelającą kulami żelatynowymi z farbą. Przeszczepiona na grunt Polski w połowie lat 90. gra bardzo szybko przyjęła się i już w 1996 r. zorganizowano pierwsze zawody, a następnie ligi, początkowo amatorskie i z czasem zawodowe. Obecnie dyscyplina rozwinęła się tak, że istnieje kilka lig dla różnych odmian paintballu, poczynając od speedballu, woodsballu poprzez laser tag, gry scenariuszowe, a na paintballu zurbanizowanym kończąc.

EN

Paintball is a game connecting sport and recreation, which in combination with trips to other towns, connects it also with tourism. Therefore it is a sport, recreation, played by people regardless of age, sex and occupation, but what matters are intelligence, determination, quick decision-making, and definitely the least – strength. Youthful dreams and their fulfilment are often fundamental to this game, regardless of age because their participants fight and play at war, but without wounded and killed, as apart from fire guns they use special air weapon shooting with gel paint bullets. Instilled in Poland in in the half of the 90s, the game was quickly accepted and in 1996 the first competitions were already organized, and then leagues firstly amateur and with time professional. Nowadays the game is so developed that there are a few leagues for different types of paintball, starting with speedball, woods ball through Laser Tag, scenario games, ending in urbanized paintball.