Onedotzero is becoming a KultureFlash classic. As the festival turns 10 this year, it's gone from an underground event at the ICA to one of the world's most groundbreaking get-togethers of visual talent, a DVD label, production company and live visual creator for U2 and Little Britain. Previous years have seen modern masters amongst the screenings and masterclasses by the likes of Spike Jonze, Michel Gondry and Jonathan Glazer.

Once again this year we have chosen some of the best of the festival's events to highlight:

Innervisions: Next Level
Wed 07/06 (7pm)
With super tech creative Jack Mama, who's worked with Levi's, Nike and Orange; Ideo studio leader Matt Hunter; Professor of Forecasting and Innovation James Woudhuysen; and deputy editor of Icon magazine Kieran Long chairing, you get a chance to look into the future. Onedotzero was born from the digital revolution -- what will even newer technology do for our creatives?

Innervisions: Warp: Anatomy Of A Label
Thu 08/06 (7pm)
If you have read this far you are probably dead into onedotzero, which means this should need little explanation. Known for some of the best video work (Chris Cunningham and Alex Rutterford), the most innovative music (Aphex Twin) and as purveyor of new technologies, Warp has had more than a small impact on our visual and technological culture today. Plus Mark Herbert (Producer of Dead Man's Shoes / My Wrongs) and Phil Canning (Warp Label manager) will take part in a Q&A.

Exhibition: Onedotzero_Transvision
Fri 09/06 and Sat 10/06 (2pm)
A re-mix of onedotzero_transvision at the V&A in February (which had 6,000 punters in one night) with 10 diverse creatives mixing installation, interactive work, documentary, short films and more. Catch work from D- Fuse, Ed Holdsworth, Phillip O'Dwyer and Jean Gabriel Poiret.

Innervisions: Group Mentality
Fri 09/06 (7pm)
In the '90s new computer technology gave artists more of an opportunity to work together on a common platform creating more collaborations and collectives than ever before, including the groups involved in this discussion: Tomato, Airside and Lobo.

NB: onedotzero_10 runs from 02/06 till 11/06.

French novelist Florian Zeller is to appear at the Cine Lumiere to discuss the newly translated edition of his best-selling novel Fascination Of Evil (Pushkin Press). Zeller is perhaps the youngest member of the contemporary French literati, having written three novels, all of which have been applauded by the critics and gained a coveted selection of awards and accolades. He is also a successful playwright, having written L'Autre and Le Manege, two plays about conflict and the human condition, both of which drew crowds in Paris. All at the tender age of 26. Although presented as a murder mystery of sorts, Fascination Of Evil tackles conflicting subjects of sensuality and oppression within the constraints of Islamic Egyptian society, and plays on the relationships between perceptions and boundaries, as well as the critical roles of art and literature, in the current social climate. An excellent opportunity to see Zeller in conversation in French and English with fellow journalist Sophie Lewis.

Repetition and minimalism can be found in every aspect of our lives -- from that 9 to 5 slog, mobile ringtones, contemporary architecture, through to the latest ultra-reductionist design magazines -- but in the '60s a quietly independent revolution took place in American composition. Whilst Steve Reich and Terry Riley were manipulating tape loops of assorted sounds and exploring an open improvisation around musical themes, Philip Glass was transcribing Indian music with Ravi Shankar, inspiring him to structure music by rhythmic phrases rather than tradition notation. So much of our present is in debt to this fertile past, and fans of Eno, Tortoise, Nyman, Stereolab, techno and post-rock immediately respond to this hypnotic tranced out bliss. You cannot fail to be seduced by the seductive qualities of Reich's Clapping Music, John Adams' Harmonielehre and Riley's In C. At last you can nod, tap your foot and engage in this propelling repetitive music, this propelling repetitive music...

These adaptations of Hamlet and Twelfth Night at Southwark Playhouse offer alternative interpretations of two of the most well-known of Shakespeare's plays. The productions are shorter as the texts have been adapted to focus on the alienation of Hamlet and of Malvolio. The house lights stay on to create a sense of intimacy with the actors and the audience. It's an ambitious, slightly academic experiment to stage in London -- the fine ensemble of five classically trained actors (all of whom have worked in the West End and on TV) have been given a crash course in a style of performance inspired by the Natyasastra, the ancient Indian text on dramaturgy. Director John Russell Brown has worked extensively in India on this method of performing Shakespeare. Justin Avoth is convincing as an untamed, agonised Hamlet. Al Weaver shows his versatility as Hamlet's friend Horatio and the dim Sir Andrew Aguecheek. These are the highlights of an excellent cast who show no reticence in engaging this radical approach.

NB: catch Hamlet The Outsider on 07/06, 09/06 and 10/06 and Malvolio And His Masters on 08/06 and 10/06.

These three remarkable films by Paris-born artist Marine Hugonnier are quite different, yet each displays a sublime feeling of being in -- and understanding -- wholly foreign lands. In Ariana (2003), Hugonnier develops an intense sense of presence with a narrated reflection on a trip to a hidden stronghold in Afghanistan. Masterfully using and juxtaposing the close-up with the landscape and the slow with the chaotic, she gives a palpable feeling of empathy with the land, the people, the experiences and herself as the medium. The Last Tour (2004) is a meditation on what is, and might be, in the mountains of Switzerland. And in Travelling Amazonia (2006) we are encouraged to regard the Transamazon Highway not as a grand project but as the reality of existence for those whose lives depend on it. Individual shots, such as a night-time drive into snow, the dust left behind a departing truck or desert mountain ranges, are the visuals that stay with you -- but as with the films themselves it is the totality of the experience, in all its forms, which is the most powerful testament. After the screenings Hugonnier will take part in a Q&A with writer / curator Mark Nash.

NB: this event has been programmed in conjunction with Marine Hugonnier's new exhibition at Max Wigram's Bond Street space (runs from 07/06 till 08/07).

Gautam Malkani's coruscating debut is set in the kind of outlying hinterlands of London -- in this instance, Hounslow -- that lead to a fractured view of city life informed by feed roads, conference centres, large housing estates and, in Londonstani, the constant thunder of Heathrow's traffic overhead. Against this setting the stories of the posturing and often violent formative years of young Asian men are told in a style which crackles with lively slang and shocking events, offering frequent glimpses of dark humour. Malkani, touted as one of the British literary scene's most interesting new voices, is coming to the London Review Bookshop to talk about his story of race, machismo, and rude boy living on London's fringes.

Brace yourself for this "cabaret opera", which stands somewhere between The Threepenny Opera (the compellingly grubby subject and characters, and sparkling score), The Marriage Of Figaro (the rapacious humour and farcical plot) and Jerry Springer, The Opera (unashamed shock value and rampant pastiche). Its subject is Margaret, Duchess of Argyll, who was something of a sex-scandal trailblazer in the '50s. Caught out by her voracious sexual appetite, she was divorced by the 11th Duke of Argyll in 1963 after he discovered Polaroids of her (wearing nothing but her trademark three-string pearl necklace) fellating a mysterious man (the photo chopped his head off). Composer Thomas Ades and librettist Philip Hensher (the novelist and indy columnist) have created a riotous, funny opera filled with priapic toffs, vapid heiresses and other suitably lascivious and repellent sycophants and scabs. Once upon a time (1995, actually, when it was commissioned by the Almeida Opera), a blow-jobbing-society-slut opera might have been shocking; now, sadly, it's somewhat par for the course. Still, Ades is one of the youngest and brightest stars of the Brit classical scene, and a bit of salacious activity in time to the music's always worth the trouble, wouldn't you agree?

NB: if you miss this performance, the film of Powder Her Face is available to buy here.

Los Angeles-based musician Ariel Pink is a solitary avant-garde bohemian, producing and playing almost all of his own music, and has acquired a particular notoriety for creating unique drum sounds using primarily his mouth. Embracing a generically diverse lo-fi sound, Pink's recent album House Arrest is characterised by a kooky melodic streak. Having steadily acquired a cult following, Pink is now generally placed within what The Wire coined the "New Weird America" movement, alongside KultureFlash favourites Animal Collective, CocoRosie and Devendra Banhart. As ever with any Upset The Rhythm night we are treated to a beautifully eclectic and interesting collection of music to prepare us for the main event. T.I.T.S. mix ethereal doomy space-pop with a primal medieval edge; Belong offers expansive textured soundscapes within collapsed songs structures. Finally, the opening act is Always, whose acapella solo performances are described by UTR as "chanting like a petulant baby demanding his nappy changed". It sounds like performance art at its most simple and potent; be adventurous and get there early.

With the World Cup about to start, multiple award-winning Iranian director Jafar Panahi could not have chosen a better time to make a film about his country's laws banning women from going to stadiums. The story follows a group of football-loving women trying to get past the police and soldiers guarding the big match -- Iran's World Cup qualifier against Bahrain. Shot in real-time with non-professional actors, the documentary-esque camera-work stays close to the main characters' faces, creating tense drama in the opening sequences as the girls get closer and closer to the main gates. Plenty of humour keeps the political polemic from dominating the story, and Panahi has a lot of fun with the way the females are constantly trying to outwit their male captors. Unlike the director's two most critically acclaimed films, his debut feature The White Balloon and 2003's Crimson Gold, Offside is not co-scripted with Abbas Kiarostami, and in some ways his absence is felt most keenly in the script, which comes across as being less structured and polished. However, Offside's strongest quality is its ability to convey a sense of the Iranian people, from tensions between the Tehrani girls and the soldiers from the country, to the wide ranging views men have of women and their rights.

NB: Offside is released in London on 09/06. For footie flashers make sure you check out the Kicks n Flicks film festival (runs till 08/02).

Any lazy pop-up commentators who label Secuestro Express "the next City Of God" deserve public evisceration to the chimes of Big Ben because this frenetic Venezuelan film has a wealth of its own qualities to feast upon. Featuring the sultry, gently perspiring Mia Maestro (from The Motorcycle Diaries) it tells the story of an affluent couple who are pounced upon by a ruthless gang of hombres attempting the "express" kidnap in just one day. Fuelled by its amphetamine pace and laced with the rich dialogue of the three kidnappers (who, in real life, have rapped together for 11 years) the film has set political fires alight in the home country purely because it "paints the authorities in a bad way". Good. Both the throwaway beauty of Maestro and the salient message at its centre will conspire to sate your needy cinematic attention completely.

NB: Secuestro Express is released in London on 09/06.

You have to hand it to Bang Face: over the last few years they've been systematically working their way through every DJ from the early '90s -- whoever went near an Acen record, whilst at the same time attracting a crowd that were mostly still in short shorts when the Home Counties were being kept awake by the sound of hardcore techno and police sirens. This month, to celebrate that most un-techno of events, the World Cup, they've assembled a fearsome squad of premiership quality DJs. Germany's Alec Empire headlines; the Digital Hardcore mainman is a rare visitor to these shores and is promising a set of old skool hardcore madness. Joining him upfront is techno legend CJ Bolland, and to get us properly back in an early '90s frame of mind we have DJ Aztek from the scourge of Tory voting middle England, Spiral Tribe. Add to that more electro, drum 'n' bass, gabba and hardcore DJs than is probably good for the ears and you have another good excuse to stay in bed all Saturday and miss the football.

Korean-born artist Nam June Paik, who died earlier this year, claimed that his particular interest was visualising time. Often labelled as the first video artist, his visionary multi monitor video installations succeeded in recontextualising the television set and launching video as a potential medium for artists. Paik's career spanned five decades, embracing TV, videotape, sculpture and multimedia, and although preoccupied with the moving image, electronic music and performance always remained central to his work. He participated in the Fluxus "anti-art" movement during the '60s, creating music and video performances with musician Charlotte Moorman. Other collaborators included Merce Cunningham, Allen Ginsberg, Joseph Beuys and John Cage, who had a particularly significant influence. Paik's temporal video sculptures, though avant-garde and subversive, were sampled directly from contemporary culture, making them decidedly pop. Tate's retrospective celebrates Nam June Paik with a 12-hour screening featuring over 40 video works dating from 1965 to 2000.

This week's KF million dollar question is: what makes "good" art? (Of course, Saatchi clearly demonstrated that you don't need good art to make a million or ten.) The exhibition Right-On Write-Off, curated by The Great Unsigned team with critic / artist duo JJ Charlesworth and Mustafa Hulusi, looks at what makes art good or bad, and concludes that the best art often masquerades as "bad" art, art that somehow looks wrong, doesn't fit in, that generally behaves like the awkward dinner guest. The result is a great sprawl of a show, which includes now rarely seen work by that (disbanded) misfit collective BANK, all appropriately housed in Jake Chapman's old David Adjaye-designed house and Chapman Fine ARTS gallery. The opening includes a performance by Mark McGowan, in which a gambler will eat a horse in an attempt to cure himself of a lifetime of addiction. More feel-good action comes in the form of Zoe Walker & Neil Bromwich's inflatable pink Love Canon, which promises to promote world peace as, at 7:45pm, it leads a musical procession from Fashion Street to the Whitechapel Gallery, where the fun continues till 11pm. Top up your kulture and pint glass there with a merry night of "drink, video and music", headlined by art-rockers Skill 7 Stamina 12.

NB: Right-On Write-Off runs till 16/07 and is likely to be the last show at Chapman Fine ARTS.

For a writer whose work is a staple on most English Literature curriculum, Angela Carter's gloriously inventive stories retain a bawdy, maverick, risque, shocking and magical lustre, which even the most monotonous of lectures from the dowdiest of teachers fails to dull. People (particularly women) get very possessive over Carter -- she touches nerves and appals with her dazzling ingenuity and speaks with such candid directness -- reading her work is a kind of magic realist masturbation. The salacious fairy tales and feminist polemic acrobatics she specialised in may not seem something for the mainstream, but following the Lyric Hammersmith's recent theatrical interpretation of Nights At The Circus and Vintage's republishing of her books (and in advance of the NT's dramatisation of her final novel, Wise Children), the South Bank are hosting a tribute to the writer. With talks by Whitbread winner Ali Smith, Virago publisher Carmen Callil and cultural commentator Tariq Ali, and readings by authors Helen Simpson and Sarah Waters, it's sure to be a day of uncompromising and unashamed self-flagellation before the altar of Carter -- but a day well worth rocking up to.

NB: the tribute day is split into three parts starting at 2pm (Ali Smith), 4pm (Tariq Ali and Carmen Callil) and then at 7pm (Helen Simpson, Ali Smith and Sarah Waters).

Making the list for The Observer's "80 people who will define the next 10 years" stamps in indelible ink the elusive "wow" factor on a career. The multimedia designer / artist amalgamation Daniel Brown is poster boy for our very own home-grown talent, and, as a previous Designer of the Year, has the accolades that bear testament to work that has grown in vision and content at a scintillating rate. On his watch the notion of computer programming as a lyrical and aesthetic tool has been realised. Play-Create, a site that houses his experimental work, reads like an evolutionary process in itself, charting the emergence of a visual language that has grown in synthesis with technological innovation. It is perhaps the most honest of art platforms for the 21st century; provoking an instinctive aesthetic response to a digital age, its canvas is the virtual picture window, its materials, the formulae of programming. To discuss the craft of the digital sphere in conjunction with the British Council's touring exhibition My World: The New Subjectivity In Design, Brown meets with the curator and Head of Design and Architecture, Emily Campbell.

NB: My World: The New Subjectivity In Design runs at The Design Museum from 10/06 till 10/09 and features new commissions from seven young British designers.

The pop star web log is a modern miracle. Taking us one step closer to our little heroes (how else would we read Britney's bad poetry about crap hub Kevin), without it we're pretty sure you would have no idea that one founding member of Cocteau Twins is terrified of playing on stage in case his flies come undone? Yep, seminal sonic superstar Robin Guthrie is a little scared of this upcoming tour according to his blog. Our advice -- wear trackies Robin! Following 2004 instrumental album Imperial and recent soundtrack work on Gregg Araki's award-winning film Mysterious Skin, Lumiere is an hour-long animated film created specially as a backdrop to Guthrie's visionary live music (possibly a ploy to distract the eyes away from any trouser malfunctions!). But no, seriously, it does make sense for a reluctant solo performer to opt for visuals as something to react against. Guthrie is expecting to be joined by special guests in London and if you know how much of a muso's musician he is, the quality of guest should be high! Shy, but not stupid -- this tour coincides with the release of his new LP -- Continental release (12/06).

NB: Robin Guthrie also performs at the Ritzy Cinema on 13/06.

The book is key to the history of photography. It's flexible, portable and accessible. Equal to the single print and gallery show, the page is now vital to appreciating the photograph, as seen at the recent photo-london fair. In a city that projects an endless stream of digital images everyday, the photobook offers the time to engage in lasting creative expression and quiet reflection on modern life. As the second volume of The Photobook: A History is published, Martin Parr and Gerry Badger discuss the brilliance of the book. They will be joined by Michael Mack, of steidlMACK, the London-based imprint of the German literary publisher and printer giant Steidl Verlag (which works directly with artists and galleries like Gagosian, Matthew Marks, Hauser & Wirth and the photo agency Magnum). Plus the photo historian David Campany will trace the development of the photobook from its experimental beginnings in the mid-19th century to the present-day digital age. Together, the speakers will discuss radically different approaches to editing and juxtaposing images and consider the lively ways in which image and language join on the page.

Former Rambert Dance Company associate choreographer Bonachela's career has taken him from The Place Prize winner to effortlessly straddling the worlds of pop and contemporary dance having choreographed for Kylie Minogue, Tina Turner, MTV and Primal Scream. For the London premiere of Voices, Spanish-born Bonachela and his six dancers will create an evening of contrasts. One piece is an exploration of borders between people, with celebrated contemporary composer Matthew Herbert, and is performed by leading choral group The Sixteen; the other is a journey through Luciano Berio's haunting composition "Naturale", performed live by the London Sinfonietta. The link between the two pieces is the voice, used by both composers. Producing both choreographic and commercial work, Bonachela brings strength and dynamism to the stage and mixes liberty and danger to create very stylish and distinctive choreography.

NB: Voices runs for two nights on 13/06 and 14/06.

Since f a projects opened near Tate Modern a few years ago, it has been the site of many interesting collaborative ventures, including their invitational shows, where curators, writers and collectors are invited to show their favourite artists in the gallery. Hydan is f a's latest innovative venture into collaboration. Here Neal Rock, the artist known for his three-dimensional, candy-coloured paintings executed with cake-icing tools, joins forces with Newbetter, the architecture cum art collective led by Shumon Basar, Josh Bolchover and Parag Sharma. The concept behind Hydan is inspired by two key moments in the history of 20th-century artistic practice: 1952, when Le Corbusier completed Cabanon in Roquebrune, France, while Jackson Pollock painted the last of his action paintings, and 1968, the year that George Romero finished the first of his "Dead" zombie series and Roland Barthes penned his now legendary essay The Death Of The Author. Newbetter has constructed a structure that houses Rock's silicon paintings, which leave behind their once playful candy hues and opt for a darker more sinister effect.

NB: runs till 15/07. Make sure you also check out Newbetter's latest curatorial project Airspace at 350 Euston Road that opens this week (09/06 till 07/07).

Fuerzabruta is a totally incomprehensible assault on the senses. God knows if there is a story -- some guff on the website about "the now" being all there is would indicate not -- but pointless as it may be, whatever it is, it works. Creative director Diqui James and co (a breakaway faction from De La Guarda) are in search of more than life has to offer. Opening with a man running for his life (literally) along a treadmill (he looses the race -- oh no, scratch that, the bloody bullet wound is cleaned and he keeps running) the action then changes with every blink: stark, beautiful, violent, brash and bright. Strobes flash, throbbing music dissolves thought, sylph-like girls dive through water in a plastic pool suspended overhead. As an audience member standing in the G-spot of the activity, you are shuffled around the twilight of the renovated Roundhouse with something like the brusqueness of London Underground staff attempting to move commuters along busy platforms. As with the tube, waiting is the name of the game, but here the anticipation before every showpiece creates an electric charge of uncontrollable excitement, which is reigned in by the performers and thrown back in your face. Go, go, go!

NB: late night Friday and Saturday shows (and Sunday afternoon performances too) seamlessly segue into club nights. Some featured names include Mr C, Rob Da Bank, Jon Carter, Matt Brown, Jimmy K Tel? for more info go to the website.

It is difficult for us to write about this, because we find it impossible to get beyond the first track. The high end melodic hook of Heartthrob's "Baby Kate" has wedged itself into our brains ever since we heard it at a Lost event a few weeks back. Everything else pretty much cowers in its shadow. But the lo-slung dub undertones of Gaiser make our speaker cones oscillate in a satisfying fashion and even the usually average Magda delivers with "Staring Contest": a sprightly bounce kick of a track. Josh Wink makes his mark with the astonishing "Have To Get back": granular reductionism stapled to cyclic 4/4. A manifesto for the label if ever there was one. Berg Nixon and Marc Houle make quality contributions, whilst Loco Dice sends us on our way with the melancholic coda of "Orchidee". As zestful and essential as last year's Minimize To Maximize compilation, this confirms our suspicions that techno has finally shaken off its minimal tag.

To buy min2MAX online click here.

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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