Although one of the concerts has already happened this series of three, showcasing some rarely heard performances of some experimental classics with new works by up and coming British composers, promises to be eye-opening and enjoyable. Each of the concerts, curated by young composers Tim Parkinson, Markus Trunk and John Lely have been programmed in keeping with the far more extreme experimental traditions of the '60s that seem to have been lost in more recent contemporary music. Major works yet to be played include Alvin Lucier's Music for Piano with Slow Sweep Sine Wave Oscillators (1965), which makes use of the acoustical interactions between piano and electronic tone generators, and Cornelius Cardew's Schooltime Compositions (1967), which reduces the act of composition down to individual "lessons" and "experiments". Pieces are to be performed by the curators, Alastair Bannerman and ensemble Buruk, for the final concert.

NB: Music We'd Like To Hear takes places on both Wed 06/07 and Wed 13/07.

Dear Wendy brings Lord Of The Flies together with Butch Cassidy And The Sundance Kid. Unlikely? Well it's scripted by Lars von Trier and directed by Festen creator Thomas Vinterberg. Accidental outlaws, all acting in the name of love, is the theme. A group of kids come together; they are not wayward children but lost in terms of spirit, united by the unlikely idea of worshipping weapons -- the Wendy of the title -- but also by being pacifists. Like many Dogme projects, Vinterberg's latest is shot through with tragic-comedy, and it's the unlikely moments of humour that catch you. It is a nice if absurd fable of the seeming lack of direction in modern life, as well as a commentary on America's love of the gun as a defence of "freedom". Now the Dane, who is in town to give a masterclass at the Short Film Summer School (Sat 09/07), will discuss the film and his oeuvre.

NB: Thomas Vinterberg will be speaking to Guardian Film Editor Xan Brooks. Dear Wendy is released in London on 05/08.

Critically acclaimed introspective space rockers return to the UK as part of shoegazing revival night Sonic Cathedral, in support of their debut album, Future Perfect, due for a UK release through Full Time Hobby on 18/07. Formed from the ashes of various under-achieving '90s alt-rock bands -- notably guitarist Greg Edwards who was a member of Failure -- they have been perennially compared to defining indie stalwarts Sonic Youth and My Bloody Valentine. Their sound certainly captures the melodic swirl of the latter and the enchanting noise of the former; within the squalls of feedback there are echoes of the Smashing Pumpkins at their most psychedelic. Their live show in particular has become legendary for its intensity and volume. The night also features special DJ sets from the ubiquitous Erol Alkan, Ladytron and Emma Anderson, formerly of '90s indie heroes Lush and now in Sing Sing.

NB: tickets can be purchased on the door only and demand will certainly exceed the limited capacity. Autolux also play at the Camden Barfly on 06/07 (XFM X-posure night with The Duke Spirit and Architecture In Helsinki).

No one likes a treasure hunt more than Team KultureFlash; after all we do track down the week's cultural treasures month-in, month-out. However it seems that artist Joshua Sofaer is pairing up with Tate education officer Stacy Mishiki to create an actual cultural treasure hunt of sorts. With all London as a hunting ground, just a hundred clues and mere 11 hours to achieve it, the Tate will be providing the ultimate game for teams to "beg, blag, barter and bluff" their way through London to collect the required objects. Complete the tour, collect maximum points, and the winning team will be awarded a thousand pounds. There will be a one-day exhibition of all the results in the Turbine Hall; what more could you ask for... Register now and make KF proud!

NB: at present there are only 25 places for teams available. To take part, send an email to caroline.brimmer@tate.org.uk. The resultant one-day exhibition will take place on Sun 10/07.

A cinematic bridge spanning the gap between sci-fi and Film noir, Jean-Luc Godard's Alphaville has laid the groundwork for many of the sci-fi classics in film and literature, but maintains its own very unique identity within the framework of modern cinema. Bleak, satiric and stylish, Alphaville sends its characters lurching through the foreboding corridors of a futuristic Eastern Bloc dystopia, and finds further unsettling relevance upon the discovery that it was shot entirely in the streets of perhaps not-so-lovely Paris. The sharp stylistic sensibility that lends protagonist Lemmy Caution the same kind of on-screen cred as Harrison Ford's Rick Deckard or Humphrey Bogart's Sam Spade dominates the film, and generates a black and white, comic-book urgency around a classic sci-fi plot. Lemmy Caution arrives in Alphaville with only a Zippo, a .45 and a book of poetry to find a city where man has been led by machine into a state of emotional repression. His mission: to save the damsel in distress from a grim future -- a life without love. Another stern warning of the dangers of technocracy, Godard's Alphaville is a film that needs to be seen on the silver screen, and this is a golden opportunity to do so.

NB: Alphaville screens on both 09/07 and 30/07 and has been programmed in conjunction with the Open Systems exhibition (runs till 18/09).

Long-standing British avant-garde composer Brian Ferneyhough has been breaking musical conventions and boundaries since the early '60s as a main proponent of the British "New Complexity" movement, along with Michael Finnissy and his first and latest work for stage -- Shadowtime -- is no exception. Shadowtime is described as a "thought opera in seven parts", depicting an alternative course to philosopher Walter Benjamin's last night, before he committed suicide. The work uses Benjamin's reference to Paul Klee's Angelus Novus throughout, and depictions of mental turmoil lead to surreal and disturbing scenes. The libretto has been written by renowned American poet and librettist Charles Bernstein and the work will be performed by Neue Vocalsolisten Stuttgart and Nieuw Ensemble Amsterdam under the direction of Jurjen Hempel, complete with soloists Nicholas Hodges (piano/speaker) and Mats Scheidegger (guitar). This should be a disturbing and thought provoking performance... if your brain can handle it.

There's a theory amongst physicists that our universe is but one of many, each of them similar but different various ways. For example, in theory, there's a universe out there where David Bowie stayed in Berlin, Kraftwerk stole the show at Live Aid, and the Minogue sisters formed a psychedelic commune in Sydney experimenting with angular Teutonic rhythms. Sadly that's not our universe, but fortunately we have the next best thing, Kosmische. Now in its ninth year this pioneering Krautrock, Psycherock and oddball electronics night is one of London's best kept secrets and one of those rare and wonderful things, a night of serious music that is seriously good fun. To celebrate they're throwing a special all nighter at a secret central London venue. Playing live are Finnish avant rockers Circle, self styled "art errorist" Jean-Herve Peron (Faust), the brilliant Delia Gonzalez and Gavin Russom, supergroup the Amal Gamal Ensemble and the experimental pop of Now, whilst pre recorded sounds come from the Kosmische DJs and Barry 7. Tonight we're gonna party like it's neunzehnhundertneunundneunzig!

NB: tickets much be purchased in advance from here or by e-mailing leon@kosmische.org.

Musical alchemy at the rave cave that is SeOne this weekend, albeit of a modest kind, as Will Saul launches his delightful Space Between album (Simple). Dub, soul and electro are all filtered through precision techno production. Guest spot from modern beat poet Ursula Rucker completes a gorgeous collection of modern machine music. Conversely, those of you seeking bit more wallop are catered for by Rennie Pilgrim, Meat Katie and Koma + Bones who'll be going till 6am in the main room. An unholy trinity more interested in wiggling your arse than confounding your preconceptions. Something for everyone, then.

NB: Will Saul will also be appearing at Fabric on Fri 08/07.

Cerith Wyn Evans is part of that crew of elusive artist who eschew form for content; that is communication determines form. Certainly in Wyn Evans' case communicating seems to be his mode. Many of you may well remember his Morse code lights flickering at the Camden Arts Centre, Centrepoint and most famously the Welsh Pavilion of the Venice Biennale in 2003. Codification seems an important part of his sculpture, but here at the Barbican his new commission creates a contemporary 18th-century pleasure garden in the Barb's own conservatory. Inspired by Kenneth Anger's 1953 Eaux d'artifice and John Cage's work, Wyn Evan's music, theatre and performance will unfold each Sunday in this balmy space. On 10/07 the performance will be inspired by birdsong while on 31/07 it will be "silent". Each week will take on its own character and the audience will enjoy the pleasure of discovery as will we... Maybe we'll need code books but maybe it will just require free, unobjective minds to take the experience in fully.

NB: this performance will take place every Sunday in July (10/07, 17/07, 24/07 and 31/07). The exact nature of each week's performance varies. Check with venue for details. The event has been programmed in conjunction with the Colour After Klein exhibition (runs till 11/09).

As part of its major retrospective on English Folk Art, Folk Archive: Contemporary Popular Art From The UK, the Barbican gallery is spoiling its London audience with various side events. Beside talks, plays and films the gallery has invited Rob Young (Wire magazine's editor-at-large) to curate two Sunday series of British folk music. This Sunday will see Leafcutter John (aka John Burton) perform. Burton has gone from using his electronic devices (such as the magnetic breasts), to focusing on his intriguing vocals -- with a slight inspiration from Will Oldham -- and acoustic guitar, the overall occasionally processed through a laptop. For this concert he will be joined by two singers to present a series of songs from his forthcoming album. Also included in the line up are Bob Stanley, co-founding member of London-based St Etienne, and A Hawk & A Hacksaw, Jeremy Barnes' solo project on Leaf, blending Eastern European folk traditions, klezmer music, mariachi and American folk music. The afternoon will close with Adem's Assembly5, "an acoustic mass-improvisation group open to all".

NB: on Sun 17/07 catch Hamilton Yarns, Gruff Rhys (lead singer of Super Furry Animals) and Robin Williamson perform at the second concert in this series.

Enjoyment of jazz seems so far removed from the time when it was considered a radical avant-garde movement. Catch Dexter Gordon in Round Midnight and you get a feel for the romance of jazz in its heyday. Today, it seems to have fallen into the zone of connoisseurship that is akin to the place for abstraction. Yet like abstraction it is a resource in which young artists can develop new forms and structures for today's world. Londoner Orphy Everton Robinson, of Jamaican heritage, has come from a jazz background, including being with Courtney Pine's Jazz Warriors in the mid-'80s and leading his own group on vibraphone. Renowned for his compositions, Creative Force, which he founded with Rowland Sutherland in the mid-'90s, was a fusion of reggae, jazz funk and Latin American grooves. Today, having played with many notable musicians, he's also contributed to television, film projects as well as poetry, bringing his heritage into play as an important part of the "skazz" (ska + jazz) scene. This Solo Summit will be a day of jazz, voice, poetry and storytelling by an international group of artists.

NB: participants include Cleveland Watkiss (voice), Vayu Naidu (storyteller), Yao Adu (rap), Celloman (cello), Tunde Jegede (kora), and many others.

To anyone who has ever set foot in the vicinity of Farringdon, it won't come as much of a surprise that the line-up of the CLF 2005 sounds well informed, well heeled and slightly smug. That shouldn't put one off venturing along, as the programme promises opportunities to get close to an eclectic range of speakers and writers from punk poet Richie Scurvey (Mon 11/07) to angler's idol Chris Yates (Sat 16/07). And there's a good dash of bacchanalia in the mix, from a Bloody Mary Competition (Mon 11/07) to the three-course feast presided over by Samuel Clark from Moro and Fergus Henderson from St. John (Fri 15/07) among others. What a week of literary pickling can do to an innocent audience will no doubt become clear by the time they reach "Am I Hot or Not" on Saturday evening.

NB: the festival runs from 11/07 till 17/07.

The problem with having created at least two high-tech icons of late 20th century architecture is that people assume your best days are behind you. There's a perception that the Richard Rogers Partnership has become a corporate mega-practice, probably not helped by "Lord Rogers of River Cafe" being somewhat diverted in recent years by his roles as Mayoral Advisor and sustainable urban design guru. But behind the high-tech facade, RRP continues its serious architectural work on a number of major league projects: Heathrow's Terminal 5, the just-completed Antwerp Law Courts, the new Welsh Assembly and Madrid's new Barajas Airport. These last two will be the subject of the talk, with Rogers joined by the projects' director Ivan Harbour. Interesting that many of their recent buildings have begun to move away from the "high-tech or bust" approach and toward an increasingly expressive, sometimes even organic, style. And it's a shame that the forthcoming Maggie's Centre (just a short stroll from their office) isn't on the evening's agenda, as it's a good example of how the practice can still do "small but perfectly formed" on a limited budget. Oh well, we can't have everything, can we?

It's probably fair to say that Seymourpowell are the grand masters of product design. Established in 1985 the practice has managed to stay near the front line of product design, despite the wave of styling over substance where a model can just as easily be asked to design a light as a product designer -- think Habitat VIP range. The pair are no doubt fascinated by technology but are careful to explain their work as an integration of social and consumer needs and are not driven by technology for technology's sake. Their client list includes companies such as Bombardier, Nokia, Casio and the development of a hybrid bike Nexus that runs off butane gas. One of their more covetable products for the home market is the irresistible ICI electrostatic garden sprayer -- which sprays fine mists using low cost electrostatic spray technology; charged particles attach to the nearest earth and wrap on to the underside of the leaf as well as coating the upper side -- putting a whole new slant on watering the garden. No doubt they will be addressing the problems of digital convergence versus terminal convergence and how to construct new paradigms in this field!

Promotional collective Upset The Rhythm have long been committed to delivering cutting edge music and tonight they present recent Wire magazine cover stars and iconic industrial hardcore noise trio Wolf Eyes and their unique brand of noise terrorism. Recalling Throbbing Gristle and Whitehouse, yet ultimately unlike any other, Wolf Eyes are a dauntingly abrasive prospect -- offering extreme texture based soundscapes and visceral electronic squall. It is music that is impossible to ignore, whether it provokes joy, hatred or fear -- apathy is not an option. Joining the Eyes is a collection of suitably experimental supports. Duracell recalls the power of Lightning Bolt, mixing furious beats with Nintendo covers, fast drums and triggered samples. Leopard Leg are a 20-strong female drum troupe from Brighton, whilst Sudden Infant describe their sound as "juxtapositions of spasmodic gibbering and a battery of disorienting electronics". A night in the best new venue in London for the adventurous angel headed hipsters; expect to walk away scared and inspired with ringing ears.

Constriction can often be the great liberator. For Mathews, a member of the legendary Ouvroir de Litterature Potentielle (Oulipo) alongside writers Italo Calvino and Georges Perec and Raymond Queneau, rules generate a game with words that has produced some of the wittiest and deformed contemporary writing in America. For a year, he followed Stendhal's dictum for writers of "twenty lines a day, genius or not", evolving "20 Lines a Day". Part journal, part writer's manual, in Singular Pleasures he created a unique fictional work focusing on masturbation, both taboo and universal, resulting in prose that?s playful, intimate and humane. His latest, My Life in CIA, documents his factual/fictional life as CIA agent in the early '70s, when he was suspected of being a secret agent. With Mathews, the method of his madness is undeniably joyful and always surprising.

NB: Harry Mathews will be in conversation with Mark Ford. On Thu 07/07 catch Tariq Ali at the London Review Bookshop.

Entrance has notched up a darned impressive and pretty appealing string of support slots over the last year or so, including shows with new folk darlings du jour Devendra Banhart, Micah P Hinson and the hypnotic Cat Power, band of the moment Antony and the Johnsons, and serious alt-blues talents the Soledad Brothers, Mr. David Viner and legendary T-Model Ford. The 22-year-old American (see, not bad for a young one) aka Guy Blakeslee, finally gets his own show at the Spitz this week, and it's about time too. The true blues troubadour has been making a name for himself live with his inventive and mesmerising, hybrid blues-folk tunes, with a pick and mix selection of influences crossing Jeff Buckley to leftfield Irish folkster John Fahey. His (European) debut album, Wandering Stranger, was released earlier this year, on the up-and-up label Sketchbook Records (who also have Micah P, Beta Band off-shoot Lone Pigeon, and Kurt Cobain hero Daniel Johnston on the books) to critical acclaim; it's clear this bright stone has only just started rolling.

We live, the Nokia website tells us, in a culture of mobility. We move around more then ever before -- around the world, around the cyber world and we apparently need our world to move with us. The ubiquitous mobile phone has become the one stop shop to satisfy this. Business deals can be struck from anywhere a satellite can reach, new tunes downloaded on the train, love letters e-mailed and break-ups texted. Mobile design has evolved at the speed of light: it was a just over that 20 years ago these devices were released to the public in all their big bulky black matt glory. Since then however things have got a whole lot smaller, covering so much more than telecommunications to become all round minute stylistic entertainment centres. Frank Nuovo, Head of Design with the Finnish company, talks to an audience at the Royal Geographical Society spelling out his new vision for the Digital Pocket. Let's just hope it doesn't involve the Crazy Frog!

When you open the door on MacGarry's cave of artists, you are welcomed in by the mechanical beckoning of Upritchard and Fritsch's disembodied leather-gloved hands hanging limply from the ceiling. This gesture is one that sums up a show that is immediately involving and energetic. The space is theatrical and full, like a backstage area, where you jostle between props and busy performers limbering up for their next act. Anat Ben-David and Jet's installation offers two private and sinister worlds where Ben-David, trussed in provocatively minimal black tape, moves through a series of postures to a mix of electro beats and vocals. Chicks on Speed's Breast Wallpaper curls around the bottom of the wall, creeping out beyond its domestic parameters and chasing at the skirts of Pil and Galia Kollectiv's Bee Girl and High Priestess who hold court behind the door. Lone artists, Petlura and Blackwell's rich adornment and manipulation of performers or materials, respectively, have an opulence and drama that demand the inspection of an Old Master. There isn't a single low in this exhibition, capturing what many group shows lack: coherence and a shared enthusiasm for the process of collaborative making that is not at the expense of its audience's experience and involvement. (Runs till Sun 10/07.)

NB: Chicks on Speed also take part in the fashion show Turn To The Left at 291 Gallery on Fri 08/07 (curated by Jessica Broas and Pil and Galia Kollectiv).

Here's a chance to catch some serious painting out of LA! Traditionally the land of cool a la Ruscha or Baldessari, Mark Grotjahn's quite physical efforts here repel the notion that the Golden State is merely a playground for the ironic and light-hearted. His current work owes as much to Barney Newman's "unveilings", as to the lesser known, but still remarkable, San Franciscan Jay DeFeo's physicality. Of late Grotjahn has been focused on painting variations of one visual structure, like twin starbursts or two perspectival points separated by a "zip", Grotjahn's "prismatic" monochromes seem like skilled jazz improvisations on structure, colour and signature. An idea further from Newman but closer to Ryman. His earlier work, based upon appropriating storefront signs, casts a conceptual tone over these "purer" objects. Is there more to their surface than meets the eye? Or is he, like Richter, one who just likes to paint... or perhaps it's just a view of the corridor down the Death Star from an X-wing starfighter!

NB: runs till 16/07.

The "Western" as a genre seems constantly running out of steam, yet of late, with the success of Clint Eastwood's Unforgiven and more importantly HBO's Deadwood, the genre seems to have shaken off Bonanza and even Gene Autry or The Lone Ranger... It's strange then when you consider that our most endearing images of the "Wild, Wild West" have been created by an Italian, and probably shot on location in Spain. Armed with some leftover film stock, Ennio Morricone and a small budget, Sergio Leone earned the title "Spaghetti Western" with a remake of a Japanese samurai flick. And Clint probably would not have earned that grizzled reputation were it not for these "fistful" of Westerns! With their stylish ease and mythological story-telling, A Fistful Of Dollars, For A Few Dollars More and The Good, The Bad And The Ugly are today iconic Westerns. Now Chairman of the Arts Council, and Royal College of Art Rector, Sir Christopher Frayling, having written several books on Leone, is meditating on his favoured hobby horse yet again. This time, it's a lavishly illustrated book with interviews from Scorsese, Eastwood, Morricone, among many others, that should make a worthy addition to the bookshelf.

NB: this book has been published in conjunction with the Once Upon a Time in Italy... The Westerns of Sergio Leone exhibition at the Museum of the American West (30/07/05 till 22/01/06).

To buy Sergio Leone: Once Upon A Time In Italy online click here or buy it through Walther Koenig Books at the Serpentine Gallery (020.7706.4907).

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.

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