instruction:
In this task, you are given news articles and you need to generate a highlight, i.e., a short summary, with a maximum length of 10 lines.
question:
(CNN) -- It's the height of summer in Paris, and the director of the most famous art museum in the world is queuing like any other tourist. Three-and-a-half hours later, Jean-Luc Martinez finally enters the Louvre, putting his bag through security, asking for directions, stopping to buy snacks and drinks. It's a familiar story for anyone brave enough to join the snaking line during peak season. Less so, when you're the man who holds the key to the front door. A few months after taking the top job at the Louvre, 49-year-old Martinez went on a covert mission to see what it's really like for the average Joe jostling against the snap-happy masses. Why? "If you are a professional, there is a risk at certain times you are only going to look at the museum with the eyes of a professional," he told CNN in his first television interview with the international press, since taking the role in April. "The people who visit the Louvre might only stop by once, and a trip to Paris is the holiday of their life. We have to make sure that they are received with a certain dignity." The people's museum? With over 9.7 million tourists streaming through the turnstiles last year -- easily making it the most popular museum on the planet -- the biggest challenge the institution now faces is not how to increase numbers, but how to improve the experience. How will Martinez, one of the institution's youngest ever directors, make that happen? "I hope it will be more welcoming, which means that when you arrive at the museum there are less queues, that the people of foreign origin find reference points in their language, that with the help of Wi-Fi and apps you understand what you see," he said. "I picture a museum in which everyone finds their space. What threatens museums is that it is only an elite which understands the works of art. I want a museum where there are young people, children, elderly people -- and that requires work." Modest Martinez . It's an ambitious vision for the 220-year-old gallery, an institution so steeped in prestige that Martinez underwent an interview with French President Francois Hollande before being offered the role. But then, Martinez isn't like previous directors. Growing up in social housing just outside of Paris in the 1960s, his father was a postman, his mother a caretaker of an apartment building. A former archeology and art history professor, Martinez was head of the Louvre's Greek, Etruscan and Roman Antiquities department before taking over from 12-year director Henri Loyrette -- himself the son of a business lawyer. Described by colleagues as a "quiet intellectual with a penchant for tweed and sweater vests," Martinez says the first time he visited the gallery as an 11-year-old on a school trip, it revolutionized his view of the world. "I was a kid that lived in a modern city, almost entirely dating from the 1960s," he said. "And there I was, in the heart of Paris, shown works of art that were more than 5,000 years old and that history is profound." Beyond the stars . Yet gaze across at the crowds scrambling to get a photo of the Mona Lisa -- while a room of precious Rembrandt paintings stands almost empty -- and you get the feeling not everyone shares Martinez's appreciation for the Louvre's vast collection. "The majority of people want to see the works of art that are the most famous -- the Mona Lisa, the Venus de Milo, and the Winged Victory of Samothrace," said Martinez. "We have to do some profound work to valorize the other collections." How? Through exhibitions of lesser-known works, new educational centers, and translating information plaques into English. Brand Louvre . Of the Louvre's 460,000 works, just 35,000 are exhibited, the rest in storage deep under the famous building. That's where Louvre Lens comes in -- a €150 million ($200 million) sister gallery in a former mining town in northern France. Opened last year, the gleaming new building displays around 200 pieces on loan from Paris. It's part of a growing Louvre empire, with another gallery set to open in Abu Dhabi in 2015, exhibiting 300 works from French museums. The United Arab Emirates is paying €400 million ($538 million) for the prestigious Louvre name. And in times of austerity, it's a deal which will help the French institution revamp its entrance and ticket areas. Does the deal also devalue the Louvre brand? "No," says Martinez. "It's an agreement, a scientific partnership, an economic partnership." With Martinez at the helm, it's also the beginning of a brave new era for the beloved institution.
answer:
Jean-Luc Martinez, new director of the Louvre, reveals plans to shake-up establishment .
49-year-old comes from modest background, father was a postman, mother a caretaker .
Wants visitors to be treated with "dignity," plans multimillion revamp of ticket area .
Says $538m deal to build Louvre Abu Dhabi will help pay for makeover of French institution .


question:
(CNN) -- Sitting incongruously among the hangars and laboratories of NASA's Ames Research Center in Silicon Valley is the squat facade of an old McDonald's. You won't get a burger there, though -- its cash registers and soft-serve machines have given way to old tape drives and modern computers run by a rogue team of hacker engineers who've rechristened the place McMoon's. These self-described techno-archaeologists have been on a mission to recover and digitize forgotten photos taken in the '60s by a quintet of scuttled lunar satellites. The Lunar Orbiter Image Recovery Project (LOIRP) has since 2007 brought some 2,000 pictures back from 1,500 analog data tapes. They contain the first high-resolution photographs ever taken from behind the lunar horizon, including the first photo of an earthrise (first slide above). Thanks to the technical savvy and DIY engineering of the team at LOIRP, it's being seen at a higher resolution than was ever previously possible. "We're reaching back to a capability that existed but couldn't be touched back when it was created," says Keith Cowing, co-lead and founding member at LOIRP. "It's like having a DVD in 1966, you can't play it. We had resolution of the Earth of about a kilometer [per pixel]. This is an image taken a quarter of a f***king million miles away in 1966. The Beatles were warming up to play Shea Stadium at the moment it was being taken." Between 1966 and '67, five Lunar Orbiters snapped pictures onto 70mm film from about 30 miles above the moon. The satellites were sent mainly to scout potential landing sites for manned moon missions. Each satellite would point its dual lens Kodak camera at a target, snap a picture, then develop the photograph. High- and low-resolution photos were then scanned into strips called framelets using something akin to an old fax machine reader. The images were beamed in modulated signals to one of three receiving stations in Australia, Spain, or California, where the pictures--and collateral chatter from the NASA operators--were recorded straight to tape. After finishing their missions, the satellites were unceremoniously dashed against the moon rocks, clearing the way for Apollo. The brilliant and ballsy engineering was typical of NASA during its golden age, a time when it was also more closely linked to other government agencies with an interest in taking pictures from space. "These guys were operating right at the edge," Cowing says with a reverence for these NASA engineers that's shared by his team. "There's a certain spy program heritage to all this, but these guys went above that, because those spy satellites would send their images back. These didn't. They couldn't. They were in lunar orbit." Fascinating Ways People Try to Leave Their Mark on the World . The photos were stored with remarkably high fidelity on the tapes, but at the time had to be copied from projection screens onto paper, sometimes at sizes so large that warehouses and even old churches were rented out to hang them up. The results were pretty grainy, but clear enough to identify landing sites and potential hazards. After the low-fi printing, the tapes were shoved into boxes and forgotten. They changed hands several times over the years, almost getting tossed out before landing in storage in Moorpark, California. Several abortive attempts were made to recover data from the tapes, which were well kept, but it wasn't until 2005 that NASA engineer Keith Cowing and space entrepreneur Dennis Wingo were able to bring the materials and the technical know how together. When they learned through a Usenet group that former NASA employee Nancy Evans might have both the tapes and the super-rare Ampex FR-900 drives needed to read them, they jumped into action. They drove to Los Angeles, where the refrigerator-sized drives were being stored in a backyard shed surrounded by chickens. At the same time, they retrieved the tapes from a storage unit in nearby Moorpark, and things gradually began to take shape. Funding the project out of pocket at first, they were consumed with figuring out how to release the images trapped in the tapes. "We're both Apollo babies, so the moon to us was something that's unfinished business," says Cowing. "These tapes were sealed for history by somebody who cared, and it was astonishing the condition they were in. So we started buying used parts on eBay, Radioshack -- I was sitting at a black-tie reception at one point buying something on my iPhone. We just buy and reassemble these things bit by bit." The drives had to be rebuilt and in some cases completely re-engineered using instruction manuals or the advice of people who used to service them. The data they recovered then had to be demodulated and digitized, which added more layers of technical difficulties. The resulting framelets had to be individually reassembled in Photoshop. After kluging through countless engineering problems (try finding a chemical substitute for whale oil to lubricate tape heads), the LOIRP team was able to single out and reproduce the famous earthrise image. This proof of concept brought the first NASA funding in 2008, and the team recently completed processing the entire tape collection. "We're the first people out of a generation or more to see this," says Cowing. "No human eye had ever seen this. All they saw was something that had already been through one generation of copying. We're seeing something one order of magnitude more precise right on the screen." Since the '60s, a series of Earth and moon imaging satellites have launched, including the Lunar Reconnaissance Orbiter in 2009. Despite the advances in computing power and optics, Cowing says the terabytes of images recovered at LOIRP are often even more detailed than those taken by LRO, capable of being blown up to billboard size without losing resolution. "A lot of the images they're taking today, our imagery from 1966 and '67 has sometimes greater resolution and greater dynamic range because of the way the pictures were taken. So sometimes you look into a shadow in a picture that LRO's taken, and you don't see any detail -- with ours, you do." Officially named Building 596, McMoon's flies a flag bearing the distinct Skunkworks skull and crossbones, signaling the team's hacker ethic. The seven or so people tinkering away inside maintain an open-source mentality about their work, making all images and their technological discoveries free to the public. They also have plans for a decommissioned Titan ICBM that's sitting outside (for students, of course). McMoon's has grown into a highly specialized operation, stuffed with a melange of old and new technology now put to use in decoding various NASA and Library of Congress tapes that no one knows what to do with. With a built-in ability to handle hazardous chemicals, the old McDonald's made practical sense, but it also gave them a layer of distance to carry out their weird work. "I had a choice between the barbershop and this building -- we didn't really care what sort of building they gave us, we just didn't want to pay for it," Cowing says. "The surplus folks at NASA Ames where all the old computers and stuff go, they love us because we come over and make all the old stuff work. The safety guys come by and we usually either make them our friends or bark at them and they don't come back." The images gathered at LOIRP have been coerced into providing even more information than they were intended to. Their data have been used to correct figures from the time about Earth's arctic ice levels, and have helped identify an El Nino-type event in the '60s. All the images and the information gathered from them are being fed into the Planetary Data System, an official repository where mission data from LRO, Mars Observer, Climate Orbiter, and many others are documented. Started by the same Nancy Evans that provided the tape drives, the Planetary Data System didn't exist when the Lunar Orbiter pictures were initially taken. The images and information that LOIRP has recovered will be submitted as the official record of the original sattelite mission. It's a testament to the lasting work of the engineers who designed the orbiter missions, and the tenacity of the modern techno archaeologists who are bringing that work to full fruition. "Back then things were designed, even if they failed, to still do something. Today, most jet fighters would fall out of the sky if they didn't have computers adjusting their surfaces and their pattern thousands of times a second. Back then they just had to engineer stuff elegantly so that it worked," he says. "We feel that we're completing the Lunar Orbiter 1 through 5 missions. They never formally submitted their stuff for the archives so we're doing it." Read more from WIRED: . What Exactly Is in McDonald's Famous French Fries? Why You Always Seem to Choose the Slowest Line . People Around the World Pose With Everything They Eat in a Day . Why Does Sleeping In Just Make Me More Tired? 30 Years After Chernobyl's Meltdown, Gripping Photos Expose the Human Fallout . Subscribe to WIRED magazine for less than $1 an issue and get a FREE GIFT! Click here! Copyright 2011 Wired.com.
answer:
NASA-funded project has recovered 2,000 analog moon pictures .
The images were taken by the five Lunar Orbiter images between 1966 and 1967 .
Project uses old and modern technology to produce high-res copies of the originals.


question:
(CNN) -- Online and on the air, talking about sports has almost always been a guy thing. Former athletes and coaches banter on a more-or-less equal footing with other guys who've never played a down or never hiked a ball but have a head full of stats and an encyclopedic knowledge of the manly arts. Meshall Shuman zooms in on Hattie Lemon at a recent taping of "Ladies in the Locker Room" It's almost insulting to say the obvious, but there are plenty of women who know their sports, too. And they have their own sports show, one that offers an alternative to the "testosterone ceiling" of the guys' club. It's called "Ladies in the Locker Room," and TV subscribers in the Atlanta, Georgia, area have been tuning in to its unique brand of sports commentary, analysis and trivia since 2004.  Watch the 'Ladies in the Locker Room' » . The show is the brainchild of Hattie Lemon, a prolific writer, director, producer and actor whose independent crime series "Atlanta Homicide" is featured on the CoLours TV network. "Ladies in the locker room are not women who think they know everything about sports; they just know the men who do," Lemon said. It's one of the catchphrases she uses to describe the show that immediately disarms most critics who otherwise wouldn't respect an all-female sports show. "It's all women, all sports, all sexy," Lemon said. "It's a combination of my love of sports and my love of media." Each year for the past five years, Lemon has recruited a new group of personalities and production crew members to punch out about a half-dozen shows. The show is captured live at sports clubs and restaurants across the Atlanta metro area, with additional time in the studio to create produced segments to add to the mix.  Photo gallery: Making 'Ladies in the Locker Room' » . And for the second time in the show's history, Lemon is traveling to the Super Bowl with a handful of her ladies and a production crew to create a version of the show featuring interviews with the celebrities and stars flocking to football's big game. Soma Balber, a self-professed superfan of the Los Angeles Lakers basketball team and one of the show's commentators for the 2008-09 season, first got to know Lemon when she began playing a recurring role in "Atlanta Homicide." They got to talking about sports, and Balber was asked to be a part of the show. "It's kind of nice to show the audience that women can have fun watching sports," Balber said. "And we want to educate women about sports as well." Lemon, who describes herself as a huge fan of professional football, says she hopes her show will lead more men to understand that women love sports, too. "When women talk about sports, sometimes men look at us as groupies," Lemon said. "Men don't think women understand sports." As for men who have never played sports but still know all the stats? They get the "man pass." It's not fair, she says, but "it is what it is. I just hope we get more women talking about sports."
answer:

Hattie Lemon created show to merge loves of sports and media .
"Ladies" offers commentary, analysis and trivia .
Lemon and her crew are traveling to the Super Bowl next week .