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This paper builds on work about rewilding and human–animal relations by focusing inquiry on Portugal's Côa Valley, where a concentration of prehistoric rock art animal figures shares a landscape with a rewilding pilot which seeks to re‐establish a population of wild horses. In response to recent geographical debates, the paper offers a sustained, situated analysis of the temporalities of rewilding and related claims to non‐human autonomy. In the Côa Valley, ancient images of animal others are enrolled in efforts to return "wild" horses to the landscape, but conceptions of wildness and domesticity, and autonomy and temporality, remain fluid and unfixed – even as they are implicated in the production of bounded spaces and invoked in present‐day management imperatives. To conclude, we argue for an appreciation of degrees of animal autonomy in rewilding contexts, moving beyond the binaries that often seem to be the focus of rewilding debates. Understanding of these degrees of autonomy, we argue, must be grounded in histories of landscape co‐habitation and co‐production, and consider the intersection of past cultural tradition and conceptions of desired future natures. [ABSTRACT FROM AUTHOR]

Cultural geography finds itself in a very different place from when Peter Jackson’sMaps of Meaningfirst appeared in 1989. Provocations for culturally attuned spatial thinking made at that time have either altered or at least been significantly reframed when issues of wider public engagement, collaborative arts practice and new ICT-based social and creative media are changing the terrain on which cultural geography is made and practiced. We introduce a collection of 11 short essays that set to provoke questions relating to cultural geography today. The essays stem from the Doreen Massey Annual Event ‘Provocations of the Present: What Culture for What Geography?’ that took place at the Open University in Milton Keynes, UK, in June 2014. We are not suggesting that there is a ‘malaise’ requiring revitalization, neither are we proposing a single best way forwards. Rather we suggest that a collective focus on how cultural geography can remain a lively place from which to engage with might provide a moment in which the diversity of cultural geography would be profitably mobilized for the future. In this introduction, we encourage geographers to think about where cultural geography is and where it is headed by considering three areas of interest: dis/locating provocations; re/defining culture; and changing geographies. [ABSTRACT FROM PUBLISHER]