Ignore

When people sense an imminent threat, they may attempt to evade it through the act of “ignoring.” Even though they understand that ignoring the situation won’t resolve it, they unconsciously rely on this method.

Similarly, when an organization collectively ignores a specific individual, it may appear aggressive at first glance. However, this behavior can often be understood as a defensive reaction to perceived internal or external threats.

Ignoring is the easiest defensive mechanism available to people, and the temporary sense of calm it provides is remarkably powerful. However, precisely because of this calming effect, ignoring tends to become addictive. Once people begin to rely on it, they may find it increasingly difficult to explore alternative ways of dealing with challenges.

How about you? Could it be that you are unknowingly living a life reliant on ignoring things?

This work explores the theme of “ignoring,” depicting the complex emotions of individuals who, confronted with mounting threats and stress, seek psychological relief by resorting to this method amidst their inner struggles.

Ignore 01
Threats that linger quietly, waiting in the shadows of awareness.

Ignore 02
The delicate tension between escaping discomfort and amplifying unease.

Ignore 03
A shield of silence, forged by instinct to protect against unseen harm.

Ignore 04
The fleeting comfort found in looking away, where peace and denial intertwine.

Ignore 05
A fragile reliance on absence, and the echoes it leaves behind.

credits
All tracks recorded, mixed, mastered by Betts(JP).
Recorded 2024 at Betts(JP)’s Studio, in Japan
Photography, Cover designed by Betts (JP)
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The music he creates expresses the ordinary life and the scenery of the neighborhood.

Betts(JP) is an electronic sound artist from Okayama, Japan. He is a multi-instrumentalist who mainly plays live instruments such as guitar, but also uses various instruments. He uses field recordings in his works and edits them on the computer.

The performance is done with very little equipment, just a guitar and a microphone connected to two delay loopers, and the electronic droning is processed by computer in real time. Starting with his second release, “Misago,” the strict limit of five songs per piece, each 9 minutes and 58 seconds long, has given him more freedom and a wider range of expression.