When "Rise of the Planet of the Apes" was first shown to the public last month, a group of excited animal activists gathered on Hollywood Boulevard. But they weren't there to throw red paint on fur-coat-wearing film stars. Instead, one activist, dressed in a full-body monkey suit, had arrived with a sign praising the filmmakers: "Thanks for not using real apes (猿)!"

    The creative team behind "Apes" used motion-capture (动作捕捉) technology to create digitalized animals, spending tens of millions of dollars on technology that I records an actor's performance and later processes it with computer graphics to create a final image (图像). In this case, one of a realistic-looking ape.

    Yet "Apes" is more exception than the rule. In fact, Hollywood has been hot on live animals lately. One nonprofit organization, which monitors the treatment or animals in filmed entertainment, is keeping tabs on more than 2,000 productions this year. Already, a number of films, including "Water for Elephants," "The Hangover Part Ⅱ" and "Zookeeper," have drawn the anger of activists who say the creatures acting in them haven't been treated properly.

    In some cases, it's not so much the treatment of the animals on set in the studio that has activists worried; it's the off-set training and living conditions that are raising concerns. And there are questions about the films made outside the States, which sometimes are not monitored as closely as productions filmed in the Sates.

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    This month, Germany's transport minister, Alexander Dobrindt, proposed the first set of rules for autonomous vehicles(自主驾驶车辆). They would define the driver's role in such cars and govern how such cars perform in crashes where lives might be lost.

    The proposal attempts to deal with what some call the “death valley” of autonomous vehicles: the grey area between semi-autonomous and fully driverless cars that could delay the driverless future.

    Dobrindt wants three things: that a car always chooses property(财产) damage over personal injury; that it never distinguishes between humans based on age or race; and that if a human removes his or her hands from the driving wheel — to check email, say — the car's maker is responsible if there is a crash.

    “The change to the road traffic law will permit fully automatic driving,” says Dobrindt. It will put fully driverless cars on an equal legal footing to human drivers, he says.

    Who is responsible for the operation of such vehicles is not clear among car makers, consumers and lawyers. “The liability(法律责任) issue is the biggest one of them all,” says Natasha Merat at the University of Leeds, UK.

    An assumption behind UK insurance for driverless cars, introduced earlier this year, insists that a human “ be watchful and monitoring the road” at every moment.

    But that is not what many people have in mind when thinking of driverless cars. “When you say ‘driverless cars', people expect driverless cars.”Merat says. “You know — no driver.”

    Because of the confusion, Merat thinks some car makers will wait until vehicles can be fully automated without operation.

    Driverless cars may end up being a form of public transport rather than vehicles you own, says Ryan Calo at Stanford University, California. That is happening in the UK and Singapore, where government-provided driverless vehicles are being launched.

    That would go down poorly in the US, however. “The idea that the government would take over driverless cars and treat them as a public good would get absolutely nowhere here,” says Calo.

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    Some of the world's most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying(联合) voice across cultures.

    Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.

    It's Jason Moran's job to help change that. As the Kennedy Center's artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.

    “Jazz seems like it's not really a part of the American appetite,” Moran tells National Public Radio's reporter Neal Conan. “What I'm hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and white anymore. It's actually color, and it's actually digital.”

    Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost. “The music can't be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,” says Moran.

    Last year, Moran worked on a project that arranged Fats Waller's music for a dance party, “Just to kind of put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it's the recontextualization. In music, where does the emotion(情感) lie? Are we, as humans，gaining any insight（感悟） on how to talk about ourselves and how something as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context,” says Moran, “So I want to continue those dialogue. Those are the things I want to foster.”