George Manos – Originality: A hidden Identity

Text/Photo: George Manos

Originality: A hidden identity.

Let me start by saying that, flatland to me is like alchemy and this concerned, originality is my “philosopher’s stone”. Originality may seem something absolute and utopian, and in my mind is a term with so many meanings and different definitions, so I’ll try to give you one aspect of it which I think is the most fitting to simplify things for me and others.

To me originality is something connected with an identity, an identity that is evident in every aspect of the person who bears it, in every creation that holds the mark of it’s producer, a mark that cannot be forged no matter how much time and effort is given to do so. This procedure may seem difficult, if not impossible, (to create something so absolute and magnificent) but it’s not, from the moment you realize that each one has a certain, hidden, (even from himself) identity, so in order to make something with a personal mark you just have to dig deep in yourself to find the best values in you, the best sides of you, and bring them forth.

Once these value/sides are up front, you got to use them like a sculptor’s chisel and work on every material you think it’s appropriate to constitute the foundation of your work, then it’s all trial and error, cause and effect, combined with a lot of luck, patience, mental and physical struggle. If the equilibrium of all these components is correct your values we’ll be reflected on your work, and it will be recognized by others as something with it’s own personal character, it’s own meaning and existence.

The recognition is the second stage of the evaluation process. While the first (evaluation) came from you, the confirmation and re-evaluation is done by others and this is really important for the reinforcement of your primary values, otherwise you might be misleaded without even knowing so. It’s obvious at this point that the forming of each one’s identity is not only one person’s deal cause once the perception is built it has to be tested and approved by others in order to be objective, and thus real, not only to you but to others as well.

But first you have to consider if you really want to get into this, cause you have to take a leap of faith regarding all the above factors, because all these are just guidelines and subjective opinions …so good luck with the recipe, I hope it works and you’ll find yourself so that we can find you!

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15 thoughts on “George Manos – Originality: A hidden Identity

  1. i don’t think that riders are scared, i mean most of them. To me Humans are still pack animals, there are leaders and followers. Some are born to be leaders, others are born to be followers, and there is nothing wrong in that.
    I consider myself as a follower and i don’t see anything wrong with it, i enjoy just riding in a classic way, if i create something it’s good, but usually i don’t bother. I think not all riders are willing to create. They just want to ride and that makes them happy. Usually I get a bit sad and disapointed when i read here and there negative comments about riders not beeing original.

  2. I mean, why would there be a need to be different and stand out? Some people feel this way for their own reasons, but most don’t. I personaly don’t feel the need to be different.

  3. In terms of originality, I have a hard time understanding how riders can justify putting so much time in to learn someone else’s tricks. Flatland is time consuming enough, why spend so much time doing what others are already doing?

    Obviously you need to learn as much as you can so you always end up learning the tricks of other’s, but I feel frustrated when that time takes away too much time away from learning more original stuff. Maybe it’s a personal preference, but I can better justify spending two weeks learning a new original trick than I can spending two hours learning someone else’s trick.

    • Lot of good points today! As Julien and pete implied, people ride for different reasons. In society in general, “we” poke fun at those who stand out as dressing different for example, or to be topical, Moto riding with brakes again. Why is that such a big deal?

    • Within the artform of flatland, you need people pushing it, its healthy! Whether its with brakes, brakeless, pegless, and of course you have people who follow, theres nothing wrong with that.

  4. Effraim : “Within the artform of flatland, you need people pushing it, its healthy! Whether its with brakes, brakeless, pegless, and of course you have people who follow, theres nothing wrong with that.”

    exactly, totally agree. 100% human !

    • Without heroes and riders at the top (people you look up to and want to be like) what is there left? Of course as Pete said, maybe if you learn a trick from someone, once you have it, put your own twist on it, flatland becomes a whole lot enjoyable. It’s interesting how this chat has grown after only one comment yesterday. Its great to see a rider like George Manos go in his own direction, riding with him was a breath of fresh air, and certainly got me thinking.

  5. Thanks George for thinking outside the box and bringing something NEW to the table.
    E, thank you for showcasing ALL types of flatland. You are truly an ambassador for flat.
    Pete and JP both have valid points whilst taking vastly different approaches to riding. YOU ARE BOTH RIGHT!
    Anyway, I’m home with a free moment wishing I could have made the trip to Toronto and feeling Flatland withdrawl. LOL

  6. well, others’s people tricks…

    Creation is a team sport thing, some are only better players than others.

    But it’s all a common project in the long run.

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