Returning to the ICA for its ninth year, onedotzero really has established itself as a modern institution, committed to celebrating all things moving image. Focusing on the continued crossplatform convergence of emerging digital cultures, the festival includes its usual combination of retrospective, international and cutting edge compilation programmes, feature films, panel discussions and live events. From anime and gaming to promos and architecture, its rich breadth of content ensures the continued dialogue between artists and industry, and the valuable development of new talent.

Below are our picks:

Generative X
Wed 01/06 to Thu 30/06 (12 - 8pm daily)
A showcase of leading internet artists including among others Daniel Brown, Golan Levin, James Tindall, Marius Watz and Ben Fry.

Wow + Flutter
Wed 01/06 (9pm), Fri 03/06 (7pm) and Sun 05/06 (7pm)
Ideas lab and showcase of experimental moving image, which includes Edouard Salier's Empire and Guilherme Marcondes' Into Pieces.

Memories: Mike Mills Docs And Shorts
Thu 02/05 (5pm) and Sat 04/06 (7pm)
Includes Deformer, which documents the life of pro skateboarder/artist Ed Templeton, and dreamy short The Architecture of Reassurance.

Playtime: Mike Mills Music Videos
Fri 03/06 (6:30pm) and Sun 05/06 (8:30pm)
In advance of his debut feature, a retrospective of music promos, including work for Air, Pulp and Yoko Ono.

Anatomy Of A Commercial Campaign: Honda Grrr
Thu 02/06 (7pm)
The creative teams responsible for the innovative and award winning campaign for Honda Grrr deconstruct its successful delivery.

War Of The Worlds: Monsterism Vs Pain
Thu 02/06 (8:30pm)
It's a live event featuring Pete Fowler and James Jarvis. Obviously they will be doing the monster mash.

Graphic Cities 05
Sat 04/06 (4pm) and Sun 05/06 (3pm)
A compilation programme featuring explorations of real or imagined architecture and environments.

UVA: 51 30' 22" 00 07' 50"
Sat 04/06 (8:30pm)
A specially commissioned light based visual performance featuring real time digital manipulation combined with live and recorded musical collaboration.

NB: onedotzero9 runs till Mon 06/06.

No other filmmaker comes closer to Michelangelo Antonioni today than maybe Wong Kar-Wai. Though the latter is more inclined towards a humanist dialogue over notions of love and such matters of the heart, Antonioni's themes lean towards a sense of desolation, loss and alienation. For him the landscape both of the subject and that of the screen itself take on these qualities, and they surpass the melancholy and melodrama of his narratives. Today these films seem like works from another more ambitious and visually patient era, but also a more thoughtful and socially engaged one. Considered one of the great Italian filmmakers, L'avventura (1960) and Blow-Up (1966) maybe being his most famous works, the 93-year-old has been with us so long that it comes as a surprise when yet another film arrives. From his early documentaries, he has meditated over many grand themes ranging from class culture to student demonstrations, swinging London and even China. But like Kar-Wai, his visual pace and sense of unfolding narrative, like his methods, is completely unorthodox and, if nothing else, Antonioni never forgets to remind us that film is a visual medium.

NB: the retrospective runs till 30/06. On Wed 01/06 (6:30pm) catch the UK premiere of Michelangelo Antonioni's 17-minute short film The Gaze Of Michelangelo succeeded by a special panel discussion with Betsy Blair (Elvia in Il grido), Steven Berkoff (Stephen in The Passenger), Jenny Runacre (Rachel Locke in The Passenger) and Mark Peploe who co-wrote the screenplay for The Passenger. Lastly a new print of his 1962 L'eclisse is also being screened during the retrospective.

Don't Look Back shows Dylan in full "imp perverse" mode on a tour of the bleak smoggy mid-'60s UK. The set is purely acoustic, but Dylan has mentally left the folk scene behind; dressed in tight jeans, Cuban heals and with a wild mop of hair, it's easy to see how he gave birth to Hendrix, introduced the Beatles to pot (and lyrics) and unwittingly became "the spokesman for a generation". Within a year, he'd be getting booed by Marxists at his first electric shows, but for now, he's taking the piss out of Donovan and laying waste to geeky journalists with wit and vitriol in equal measure. DA Pennebaker's verite style remains the blueprint for "rockumentaries" to this day and his film even (some argue) gave birth to the pop video by including an improvised skit to the soundtrack of "Subterranean Homesick Blues". Little wonder, then, that Dylan approved doyens of alt country Wilco would borrow from Pennebaker. Musically, Jeff Tweedy and co are connected to the same blues tradition as Dylan, interpreting it every bit as freely albeit in a somewhat less apocalyptic fashion. The stark contrast in the two films comes with mood more than execution. Dylan is soaring almost out of control to stardom, while Wilco's record company refuses to release what many now regard as one of the best albums of the 21st century. Watching these movies together is instructive; 40 years have passed and the Mr Joneses who run the business still don't know how it feeeeeeeels.

NB: this double-bill is brought to you by DocHouse.

It's been a busy time for rising Israeli choreographer Jasmin Vardimon. Just as her new dance-drama Park has completed its opening London run, popular demand brings its predecessor back to The Place for a final four performances. As is usual of this award-winner's work, Lullaby tackles thorny issues. Though compulsive, it does not always make for easy viewing. It's set in a hospital and uses her trademark mix of black humour and brutality to look at what she perceives (from her own experience) to be these institutions' generally problematic approach to the treatment of the sick and illness. The plot unravels swiftly through intricate movement performed at full stretch. It is textured by the type of well-observed characterisations, interesting technical innovations --like the on-stage and dancer attached video cameras -- and moments of sheer choreographic brilliance that are all responsible for getting her noticed. For just one example the robotic nurse with the red flashing heart is really not to be missed.

NB: runs till Sat 04/05.

All Tomorrow's Parties -- organisers of the finest festivals in the land, show they've a delicious sense of irony, presenting the most wilfully avant-garde acts under the banner "Easy To Swallow". Expect musical indigestion from Mark Stewart And The Mafia (industrial dub-punk), the delightfully named British Murder Boys aka Regis and Surgeon (techno noir), feedback malcontent Hecker (vast cathedrals of emetic noise torture) and bloodyminded sonics from gurgling analogue wizard Aphex Twin. All in the cavernous rave-cave that is SeOne. Smart Alec journalese aside it's a cracking line-up; and the appearance of Mark Stewart is not to be missed. After founding The Pop Group at 17, Stewart went on to figure as a focal point of the underground and is cited as an influence by anyone worth their Wire subscription. Stewart's band includes Adrian Stewart -- himself no slouch in the influence dept. Coupled with a line up curated by fellow noise-nik Russell Haswell, this is an evening for the aficionado of the avant-garde.

June's Late at Tate Britain is a feature on glamour, with gems from the art, music, film and fashion worlds playing against the background of the Tate's Joshua Reynolds exhibition. Reynolds' portraits depict the glamour and style of 18th century celebrities -- Roland Mouret and SHOWstudio editor Penny Martin will discuss Reynolds' legacy and the impact of glamour in fashion. The night's main attraction is a chance to hear Emiliana Torrini sing in the awesome acoustics of the Tate's gallery halls -- she'll be performing an acoustic selection from the new album Fisherman's Woman (Rough Trade). Ursula Andress stars in Matthew Barney's strange and beautiful Cremaster 5 at 8pm; cryptic, stunning and unlike anything you've ever seen.

There is no dearth of documentary material describing Patty Hearst, heiress to the Hearst fortune and poster girl for the Stockholm Syndrome. The fact that the teenager's kidnapping and subsequent conversion to being an active member of the Symbionese Liberation Army may have been the first full-blown and far reaching media circus as we know them today, coupled with the fact that her grandfather was a newspaper tycoon, suggests that the story is not without a hint of irony. This film, however, is not simply a retelling of the Patty Hearst story. A revealing venture into the complexities and realities of the incident, GTTOPH explores the issues behind the media circus, and scrutinises the role of the media in the arenas of politics, terrorism and social responsibility. Robert Stone's unique documentary approach to the SLA, Hearst and the media raise questions and criticisms that are as relevant now as ever considering the "climate of fear" hardline that is so prevalent in current affairs media today. The film uses a rich mixture of hard-to-find archival footage combined with a more recent look back by some of those involved to address central themes of influence, perception and control.

NB: Guerilla: The Taking Of Patty Hearst is released in London on 03/06 (another film of interest being released on the same day is Moolaade). Director Robert Stone will be on hand for a Q&A after the 6:40pm screening on Fri 03/06 at Curzon Soho. On the same night at 11pm catch Joe Berlinger and Bruce Sinofsky's first pubic screening of Paradise Lost preceded by Chris Cunningham's Rubber Johnny.

KultureFlash loves Denmark! As such, we're particularly delighted by this Friday at the ICA as Knom presents a Danish double bill of Efterklang and Under Byen. The former, an 11-person collective, garnered widespread praise (not least from us) for their debut album Tripper (Leaf), a combination of haunting music box melodies and heart-swelling sound panoramas. Fellow Danes Under Byen craft songs as equally affecting and otherworldly from violin, cello, Wurlitzer organ and melodica, not to mention Henriette Sennenvaldt's beguiling vocals. Though we could happily expound on the biennial of Hans Christian Andersen or the nadir of Aqua's Barbie Girl, we'll let this evening's Nordic charms convince you.

The new folk resurrection continues to flourish and, hot on the heels of Adem's Homefires II festival at Conway Hall, Twisted Folk tour returns for its second year, bringing with it a magical mix of raw acoustic acts, which combine some of the most creative, intense and eccentric threads currently running through the alternative "folk" patchwork. Headlining on both nights is Andy Cabic, aka Vetiver, longtime collaborator of psychedelic pied piper Devendra Banhart. Blending intricate layers of gentle acoustic melody, Vetiver will be joined by his San Francisco comrade on guitar, together with cellist Alissa Anderson, Kevin Barker (of Currituck Co) and various members of the enchanting, occasionally shambling but endearing collective. Friday night special guest is Portland, Oregon's M Ward (Matador), whose most recent release, Transistor Radio, is a vivid, lyrically blessed mix of folk, country, rock and blues, whilst Saturday's offering by Mica P Hinson makes ticket-buying a tough call, his beautiful and raw debut And The Gospel Of Progress capable of wrenching even the most cynical heart, with his gravelly vocals of mesmerising intensity. Opening both nights are Track and Field's Currituck Co.

NB: Twisted Folk runs on both Fri 03/06 and Sat 04/06.

Martha Rosler is really an artist of everyday life. Not quite like Manet or even Bonnard, she works from her surroundings, that is television, shopping, our day-to-day experience of the world, and that includes the art world. Rosler has consistently marked her difference by her very early understanding that "daily life" can be "represented" through much more participatory and complex methods. That is rather than painting as a "mode of communication", Rosler has chosen photography, words, installation, performance and even sculpture, when it suits her ideas, to create a more effective dialogue between her viewer and the piece. In her own writing she has pointed out the commodity and fetish nature of the artwork, and though these are everyday ideas now, they were important and fresh ones in the '70s. Here she has recreated her 1973 Garage Sale where participants get to barter for objects, and don't expect her tea party with Jens Hoffman, in his second year as curator at the ICA, to be any cake walk, rather come for an engaged political discussion. Maybe she can explain the European constitution. As a politicised artist, teacher and writer, she has brought the qualities of the activist to contemporary art, and whatever the case, her work moved us to see the complexity lodged within simple things.

NB: Martha Rosler's Garage Sale is open for business until 17/07. There will also be screenings of her films over this period in the upper galleries.

Electronic music fans the world over were jumping with joy after the release of Kieran Hebden's latest Four Tet album, Everything Ecstatic, and whilst the sound of his new songs is a little different than those found on his first albums, expectations remain met -- it's a glorious, scintillating piece of edgy, melodic dance, in much more of an accessible yet no less experimental style than his previous, folkier works, and he's been touring it relentlessly. He's joined onstage in KOKO (a venue for larger-scaled nights if ever KF has seen one) by the Steve Reid Ensemble, the US-based deep jazz legend whose influence can be felt in much avant-garde electronica; post-rockers Battles; weirdo rapper and ex-Antipop Consortium chap Beans; and the Hot Chip Sound System, the DJ arm of a band who not only churn out driving rock/dance but also have the coolest name in showbiz. Journalistic restraint prevents us from simply writing "just go" again and again in this editorial slot, and we know you'll hear the word "unmissable" touted around a hell of a lot this year, but this promises to be an unforgettable night. What are you waiting for?

NB: if you cannot make it to this concert catch Four Tet as he provides support for Prefuse 73 at an intimate gig at Bardens Boudoir on Sun 05/06. Both events are brought to you by the excellent Eat Your Own Ears.

Recently Penguin Books courted some controversy by not including any black or African authors in its list of 70 must-read writers... not even Chinua Achebe. Now if a list of 70 directors had been selected, certainly Spike Lee would be in there. But would Ousmane Sembene? Born in 1923, having worked as a fisherman, Marseille dockworker, soldier and communist trade unionist before turning to the arts, we should consider Sembene to be the "total" artist. That is having written a score of novels, turned some into films, made documentaries as well as features, like Achebe, the uber-African writer Sembene can be described as the "father of African Cinema". The octogenarian will be introducing Moolaade, a prize-winner at last year's Cannes and show-stopper at the 2004 London Film Festival. A film "about" female castration, it is centred in a village that though modern also follows its traditions, one of which is that of "purification" or the prevention of a woman's pleasure. "Moolaade" means "protection" and here our heroine reaches out to other traditions to save several young girls. Though he has described his work as "movie school" and his intent has been to give voice to Africa, it is ultimately humanist in orientation and thus truly fine filmmaking.

NB: Moolaade is released in London on Fri 03/06 (another film of interest being released on the same day is Guerilla: The Taking Of Patty Hearst). This screening is part of the NFT's Ousmane Sembene retrospective (01 to 29/06).

Prefuse 73, aka Scott Herren, heads up this intimate little affair at Dalston venue du jour, Barden's Boudoir, on the back of his fourth full-length release, Surrounded By Silence, just out on Warp, which interweaves a roll-call of guests -- from El-P to Anti-Pop Consortium's Beans and Pedro. The experimental hip-hop man from Atlanta's latest offering is reflective of his diversity of production -- also working on alter ego projects such as Savath y Savalas ("pastoral post-rock"), Delarosa and Asora, and Piano Overlord among others -- and the intricate layering of sounds, samples, instrumentation and shredded vocals with which he infuses his work. Positioned firmly in the leftfield/experimental hip-hop camp, Prefuse 73's rap is rootsy, organic and poetic, with references from kid606 to Kurt Schwitters. Prefuse 73 is joined by prolific electronica whiz Four Tet, whose brand new album, Everything Ecstatic -- the follow up to the exquisite Rounds -- looks set to do the business once again; plus the first ever London show from Swedish jazz-punk act, The Thing.

NB: if you cannot make it to this gig catch Four Tet and the Steve Reid Ensemble at KOKO on Sat 04/06. Both events are brought to you by the excellent Eat Your Own Ears.

Now that drum and bass and jungle are enjoying such a resurgence in popularity, it must come as something of a relief to those a little scared by the Congo Natty back catalogue and the full-on bassline madness of Keaton & Hive that Matt Elliott, aka Third Eye Foundation, is touring again. Elliot made his name in the '90s with albums such as Semtex, curious melanges of crazy uptempo breakbeats with mournful, spooky guitars and My Bloody Valentine-esque white noise. Sadly for these people, however, Elliot has dropped the Third Eye Foundation moniker and is touring under his real name -- and with the re-christening comes a rebirth of sound. He'll be showcasing the gorgeous melodies and haunting guitars of his new album, Drinking Songs (Ici d'ailleurs). Ghostly, ethereal and near-perfect mood music, these pieces should transfer heart-breakingly well to the live environment -- and there is the occasional foray into sampler trickery and drum machine madness to keep the trendier members of the audience happy. And it all takes place in The Spitz, a very pleasant place to become gently pickled whilst drifting off to the sounds filling the room.

Rumour is that it's just about 50 powerful families that really run the world, not countries nor corporations... Well, families certainly contribute to the world's cultural legacy, the Medicis gave us a certain Medici Chapel, while in the last century the Guggenheims gave us another kind of chapel. They sit on museum boards and cultural committees, but also on those of corporations, own football clubs, give generously, and we hope benevolently, to charity. Others have turned wealth to more unusual ends like Howard Hawks or the Sultan of Brunei. Now Guardian architecture critic and author of The Edifice Complex Deyan Sudjic will be speaking to architects Richard Rogers, David Chipperfield and Future Systems's Amanda Levete to discuss the connections between power and architecture in this Guardian's readers evening: "How the rich and powerful shape the world, from Saddam Hussein to the Guggenheims".

NB: all proceeds will go to the Observer Christmas charities and the event will be followed by a drinks reception (8:30 - 9pm). Reservations can be made via rsvp@observer.co.uk.

You've seen the West End musical, now see the original on the big screen. The Producers is coming to the NFT on Wed 08/06 at 6:30pm (also on Sun 12/06 at 8:30pm). If that seems like an early start to your evening, there's a good reason -- one of Hollywood's leading comic actors is in town. At 8:20pm after the screening, Gene Wilder in conversation kicks off! The 1968 film of The Producers was a commercial flop, but remains a cult film. Three years later Wilder was cast as Willy Wonka in the unforgettable Charlie And The Chocolate Factory (a remake by Tim Burton with Johnny Depp as Wonka will be released on 15/07). You can view his entire filmography here (thanks to a diehard Russian fan, by the looks of it). So if Willy Wonka was made in 1971, Gene Wilder must be of a certain age. 71 this year and in total remission from non-Hodgkins lymphoma which he was diagnosed with in 1999. His autobiography is published this month in the UK, hence his appearance in London. He may look a little different, which is very hard to imagine -- as he really seemed ageless from the '60s to the '80s, when he made his best films. The book is apparently full of wonderful anecdotes from behind the scenes. Go and hear it all from the man himself.

NB: Ousmane Sembene (Sun 05/06) and Jane Fonda (Fri 03/06) will also be speaking at the NFT.

Ask Alex Coles and he'll tell you that the demarcation between art and design, like a demilitarised zone, is a very grey area and is constantly being renegotiated. Artists and designers have long been influencing and plundering each other, but in recent decades the space in which artists have been pondering truths has widened to include so much of our fabric of reality that everyday life is beginning to look just like art. Simon Moretti's art is, to say the least, elusive. Like his own work, his curated shows operate in the zone of "habitation", yet also touch upon ideas of inclusiveness and authorship. By careful selection and arrangement, the works in this show blend into one smooth installation. In fact Goshka Macuga's Lichtenstein mirror or Allen Ruppersberg's jigsaw puzzle or even Gareth Jones' plinth all appear so close to being domestic objects rather than artistic produce that with help of Moretti's floor-based rubber tiles one could be walking into a very eccentric, bohemian living room. And this is what one finds disconcerting about Morretti's endeavour, not where the world begins but where art ends.

NB: runs till 11/06.

According to Peter Plagens we're in a situation of total irony, that is most artists work -- either consciously or unconsciously -- at a certain level of irony; perhaps today's artist is far too aware of art history, or at least possesses a deep sensitivity towards the fluidity of our current "club" visual culture. All this makes the poignant intensity of Outsider Art all the more attractive. Be it Picasso's love of Henri Rousseau or Ben Nicholson's of Alfred Wallis, One in the Other's Future Primitive takes this particular attraction to another level. Mixing in artists like Sam Basu, Joel Croxson, David Thorpe and Francis Upritchard among other London regulars, with truly brut ones (some pieces even loaned from the Raw Vision Art Collection), at first glance one can find it difficult to separate the "real" Future Primitive from the "present ones", that is the trained from the uninitiated. Whatever the case, the works here, predominately drawings on paper, curated by Paul Johnson, display a visionary sense, intensity of drawing and, mainly, a "brute" attitude that gives this show its strength.

NB: runs till 12/06.

Do you wonder where to discover new and exciting performances in London? Look no more and get down to Camden People's Theatre. The new Artistic Director Jonathan Salisbury, formerly programmer at Hoxton Hall, has brought together a sparkling array of new stars under the freshly repainted heavens of CPT. Kicking off with a double bill featuring Mr Quiver (Rajni Shah) and Paramour (Chopped Logic), this season will take you from Elizabethan times to human Bingo via the land of the subconscious on a journey exploring new paths for performance art. Look out for Rotozaza and their guest performers from acclaimed theatre companies such as Philadelphia's Pig Iron and London's A2 in a show inspired by the "people" we create in our dreams. If that's not enough to get your mind flying, check out I Am Cloud (Song Theatre), a theatre ensemble using very strong scenography and poetic visual art to paint moments of sheer bliss.

NB: Sprint 2005 runs till 19/06.

Folksy Englishness rubs shoulders with architectural precision in David Thorpe's latest exhibition at Interim Art. The works draw on themes similar to his show last year in the Tate Britain's Art Now room, where Thorpe exhibited collages and large-scale wooden screens all alluding to a utopia existing in the artist's imagination. Here the works are subtler, as he focuses on the botanical and also includes people, who appear as maypole dancers in highly stylised and beautiful drawings. The collages and finished buildings may be gone but the architectural theme remains throughout with all the works linked by geometric lines and shapes. An alternative community is still invoked by Thorpe but this time round it could be equally a cult or an English heritage society.

NB: runs till 26/06.

Does the thought of simultaneously experiencing, in south London, hallucinogenic plants of the Amazonian forest and a cinema in the town of Wadena, Ohio sound unlikely? A visit to the South London Gallery, where Saskia Olde Wolbers' new work Trailer is on show, might convince you otherwise. Last year's Beck's Futures winner, Olde Wolbers, no stranger to storytelling, masterfully weaves a personal and surreal in its exaggerated "reality" story of a man who finds out he was adopted and is, in fact, the offspring of two minor actors of the '30s, who disappeared in the jungle. The voice of the unseen and only heard male protagonist is the soundtrack to alternating, and eventually combined, eerie close-ups of exotic vegetation and views of the empty, flesh-coloured auditorium of a provincial US town. A double viewing is recommended -- one to take in all the details of the tragicomic script and one to immerse oneself in the disconcerting but compellingly deceitful beauty of the studio-crafted hypnotic landscapes.

NB: runs till 17/07. On 12/07 (7pm) catch Saskia Olde Wolbers in conversation with Margot Heller (Director of the SLG).

KultureFlash is a free, weekly newsletter covering contemporary culture in and around London. Each week we track down some of the more unusual and interesting events taking place in the Capital and deliver them straight to your inbox. Featuring art, gigs, films, talks, clubs and more -- we are committed to bringing you an eclectic mix of the most stimulating events in London.

If you want to tell us about an upcoming event please do so by sending an email to: events@kultureflash.net. Please note that KultureFlash is not a listings e-zine and we do not receive any payment from venues, artists, managers or promoters.

Please send all invites, press releases, CDs and books to:

KultureFlash Ltd.
52 Cranmer Court
Whitehead's Grove
London SW3 3HW