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Producing geometric designs and images on materials, such as pottery, basketry, and bead artwork, as well as the human body, is elemental and widespread among Amazonian Indigenous peoples. In this article, we examine the different geometric forms identified in the precolonial geoglyph architecture of southwestern Amazonia in the context of geometric design making and relational ontologies. Our aim is to explore earthwork iconography through the lens of Amerindian visual arts and movement. Combining ethnographic and archaeological data from the Upper Purus, Brazil, the article shows how ancient history and socio-cosmology are deeply "written" onto the landscape in the form of geometric earthworks carved out of the soil, which materialize interactions between nonhuman and human actors. We underline skills in visualization, imaginative practices, and movement as ways to promote well-balanced engagements with animated life forms. Here, iconography inserted in the landscape is both a form of writing and also emerges as an agent, affecting people through visual and corporal practices. [geometric designs, earthworks, visualization, movement, Amazonia] RESUMEN El producir diseños e imágenes geométricos en materiales tales como cerámica, cestería, obras de arte en collares, así como el cuerpo humano, es elemental y extendido entre indígenas del Amazonas. En este artículo, examinamos las diferentes formas geométricas identificadas en la arquitectura precolonial de los geoglifos del suroeste de la Amazonia en el contexto de la creación de los diseños geométricos y el tipo relacional de ser.Nuestra meta es explorar la iconografía de los trabajos en la tierra a través de los lentes de las artes visuales y el movimiento Amerindios. Combinando la información etnográfica y arqueológica del Purús Superior, Brasil, el artículo muestra cómo la historia antigua y la socio-cosmología están profundamente "escritas" en el paisaje en la forma de trabajos en la tierra geométricos labrados en el suelo, los cuales materializan las interacciones entre actores humanos y no humanos. Enfatizamos las destrezas en visualización, prácticas imaginativas, y movimiento como maneras de promover interacciones bien equilibradas con formas de vida animadas. Aquí, la iconografía insertada en el paisaje es a la vez una forma de escritura y también emerge como un agente, afectando a las personas a través de prácticas visuales y corporales. [diseños geométricos, obras de tierra, visualización, movimiento, Amazonia] RESUMO A produção de desenhos geométricos e imagens em materiais como cerâmica, cestaria, miç anga, assim como no corpo humanoé elementar e muito difundida entre os povos indígenas amazônicos. Este artigo aborda diferentes formas geométricas identificadas na arquitetura dos geoglifos pré-colonais do Sudoeste da Amazônia no contexto de produção de desenhos geométricos e das ontologias relacionais. O objetivoé examinar a iconografia de

This article discusses how the use of social media fosters, motivates, and regulates social relations among the Arawakan-and Panoan-speaking indigenous groups in the state of Acre and the southern part of the state of Amazonas, Brazil, where even the smallest towns have recently received high-speed internet connections. The research this article is based on analyzed what motivates indigenous social media users in Amazonian Brazil. I have gathered ethnographic data over a number of fieldwork trips since 2003 and followed indigenous Facebook users since 2009. The article shows how social networking sites have become a powerful tool for (re)producing relationships and social economies. It looks at what social networking sites offer for indigenous people and how they impact and alter their social relationships. The findings suggest that social networking sites are generating new reflections on Amazonian indigenous traditions and knowledge, and changing the way indigenous Amazonians relate to the outside world.

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This article discusses how for the Apurinã community in Brazil, the relationships with certain places and nonhuman entities actually co-produce biocultural heritage. This involves not only storytelling, care, and respect, but also avoidance, and thus shows specific intergenerational ways of managing and relating to the land. Here I will especially address Apurinã ancestral forest and historical places, and the experiences and knowledge that they trigger, including stories of Apurinã ancestors, core values, ways of relating in the communities, as well as preferred ecological practices passed down through the generations. Besides the current Apurinã community, their biocultural heritage is shared and protected by various nonhuman actors who are its true owners. The ontological dimension of the Amazonian biocultural heritage also involves a temporal aspect, as the nonhuman entities contributing to its production can be activated and interacted with from different times, from the distant past to present times. Finally, this article discusses how international cultural laws protect such an understanding of the biocultural heritage, and shows that they offer insufficient space for nonhuman actors in biocultural heritage protection.

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