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The study explores the specifics of silence at Ludwig Wittgenstein. The starting premise is that silence is a manifestation of intentional communication. If silence is intentional, however, quiet is always unintentional. Ludwig Wittgenstein discovers that reflective thinking can be expressed either by language, either by silence. He develops the thesis of linguistic silence: "Whereof one cannot speak, thereof one must be silent." Linguistic silence communication dimensions are explained.

It all happened a year ago, or maybe it was just three months ago ... yesterday .. today or even tomorrow. I do not remember ... Perhaps I just don 't want to remember. The newspaper I worked for asked me to write an article on female sexual abuse in Beirut. I was ecstatic. I've always loved investigative articles ... probing into causes, effects ... facts, explanations ... I've always been so naive.

I should say, abstractly, that this is about racism, if only I knew what races I should tattoo on my transnational post-colonial narcissistic subaltern brown body that so enjoys being white. I should rather say this is about silences invoked in my body during moments of misconstructed identity, silences between belonging and betrayal, if only I did not love dancing in the tensions between boring and exotic. I am saying much now, but I said little then, while so much was said by me in me for me. So all I have for you here are maddening silences.

Given the pervasiveness of employee silence, this article explores different forms of employee silence and silence antecedents. In particular, this article classifies employee silence using two dimensions: the target's solicitation and the employee's decision basis of conscious silence desirability. Drawing on relevant literature, it is proposed that employee silence can be classified into three distinct forms: unsolicited predetermined employee silence, unsolicited issue-based employee silence, and solicited target-based employee silence. When considering antecedents of employee silence, we claim that unsolicited predetermined employee silence is an outcome of personality traits, that unsolicited issue-based employee silence is triggered by functional motives, and that solicited target-based employee silence is determined by social relationships and relational experiences. By investigating forms of employee silence, this article provides important implications for theory and managerial practice.

These tricontinental ekphrastic poems feature graffiti art(ists) that have caught my heart off guard. The first poem titled "Graffiti of Silence" is a response to the anonymous "listen bird", ubiquitous in Edmonton's urban geography from 2003 to about 2008. Stenciled, spray painted or stickered, it always featured a speech bubble with one word: listen. It quickly became part of Edmonton's local iconography, but the city's Graffiti Management Program managed to eliminate the bird from its streets, but not from public memory. The second ekphrasis titled "The Fisherman" features the work of El niño de las pinturas (Raúl Ruiz), an internationally-renowned graffiti artist based in Granada, Spain. Known for his large-scale wall murals which are almost always accompanied by his own poetic text, he dresses the skin of this city in sienna strokes, covers its bruises with layers of light, becoming a source of symbolic pride for Granada. The third poem, "Monsters in Montevideo," is inspired by Alfalfa (Nicolás Sánchez), an iconic street artist based in Montevideo, Uruguay. His unique style uses organic lines and bright colours to create fantastical creatures that add a sense of play and surprise to many of the city's streets. These three ekphrastic poems are an attempt to translate the poetic experience of viewing street art. Through poetry, the impermanent art of graffiti is rendered immortal as a self-portrait of each city and each spectator.