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By NASA
Credit: NASA NASA, on behalf of the National Oceanic and Atmospheric Administration (NOAA), has awarded a delivery order to BAE Systems Space & Mission Systems Inc. of Boulder, Colorado, to build spacecraft for the Lagrange 1 Series project as a part of NOAA’s Space Weather Next program.
The award made under the Rapid Spacecraft Acquisition IV contract, has a total value of approximately $230.6 million with the period of performance running from February 2025 to February 2035. The work will take place at the awardee’s facility in Boulder.
The firm-fixed-price delivery order covers all phases of the Lagrange 1 Series project operations including developing up to two spacecraft, instrument integration, satellite-level testing, training and support for the spacecraft flight operations team, and mission operations support. Rapid IV contracts serve as a fast and flexible means for the government to acquire spacecraft and related components, equipment, and services in support of NASA missions and other federal government agencies.
The Space Weather Next program will maintain and extend space weather observations from various orbitally stable points such as Lagrange 1, which is about a million miles from Earth. The first Space Weather Next Lagrange 1 Series launch, planned in 2029, will be the first observatory under the program and will provide continuity of real-time coronal imagery and upstream solar wind measurements. Space Weather Next will provide uninterrupted data continuity when NOAA’s Space Weather Follow On Lagrange 1 mission comes to its end of operations.
Observations of the Sun and the near-Earth space environment are important to protecting our technological infrastructure both on the ground and in space. The spacecraft will provide critical data to NOAA’s Space Weather Prediction Center which issues forecasts, warnings and alerts that help mitigate space weather impacts, including electric power outages and interruption to communications and navigation systems.
NASA and NOAA oversee the development, launch, testing, and operation of all the satellites in the Lagrange 1 Series project. NOAA is the program owner providing the requirements and funding along with managing the program, operations, data products, and dissemination to users. NASA and its commercial partners develop and build the instruments, spacecraft, and provide launch services on behalf of NOAA.
For information about NASA and agency programs, visit:
https://www.nasa.gov
-end-
Karen Fox/Liz Vlock
Headquarters, Washington
202-358-1600
karen.c.fox@nasa.gov / elizabeth.a.vlock@nasa.gov
Jeremy Eggers
Goddard Space Flight Center, Greenbelt, Md.
757-824-2958
jeremy.l.eggers@nasa.gov
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Last Updated Feb 21, 2025 LocationNASA Headquarters Related Terms
Space Weather Heliophysics Joint Agency Satellite Division NOAA (National Oceanic and Atmospheric Administration) Science & Research Science Mission Directorate View the full article
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By NASA
Credit: NASA NASA’s Small Spacecraft Systems Virtual Institute (S3VI) is pleased to announce the official release of the highly anticipated 2024 State-of-the-Art Small Spacecraft Technology report. This significant accomplishment was made possible by the contributions of numerous dedicated people across NASA who graciously supported the preparation of the document as authors and reviewers. We also want to extend our gratitude to all the companies, universities, and organizations that provided content for this report.
The 2024 report can be found online at https://www.nasa.gov/smallsat-institute/sst-soa. The report is also available in PDF format as a single document containing all report content as well as individual chapters available on their respective chapter webpages. This 2024 edition reflects updates in several chapters to include: the Formation Flying and Rendezvous and Proximity Operations section within the “Guidance, Navigation, and Control” chapter; the Additive Manufacturing section within the “Structures, Materials, and Mechanisms” chapter; the Free Space Optical Communications section within the “Communications” chapter; and the Hosted Orbital Services section within the “Complete Spacecraft Platforms” chapter.
As in previous editions, the report contains a general overview of current state-of-the-art SmallSat technologies and their development status as discussed in open literature. The report is not intended to be an exhaustive representation of all technologies currently available to the small spacecraft community, nor does the inclusion of technologies in the report serve as an endorsement by NASA. Sources of publicly available date commonly used as sources in the development of the report include manufacturer datasheets, press releases, conference papers, journal papers, public filings with government agencies, and news articles. Readers are highly encouraged to reach out to companies for further information regarding the performance and maturity of described technologies of interest. During the report’s development, companies were encouraged to release test information and flight data when possible so it may be appropriately captured. It should be noted that technology maturity designations may vary with change to payload, mission requirements, reliability considerations, and the associated test/flight environment in which performance was demonstrated.
Suggestions or corrections to the 2024 report toward a subsequent edition, should be submitted to the NASA Small Spacecraft Systems Virtual Institute Agency-SmallSat-Institute@mail.nasa.gov for consideration prior to the publication of the future edition. When submitting suggestions or corrections, please cite appropriate publicly accessible references. Private correspondence is not considered an adequate reference. Efforts are underway for the 2025 report and organizations are invited to submit technologies for consideration for inclusion by August 1, 2025.
NASA’s Small Spacecraft Technology program within the Space Technology Mission Directorate funds the Small Spacecraft Systems Virtual Institute.
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By NASA
NASA asked artists to imagine the future of deep space exploration in artwork meant to inspire the Artemis Generation. The NASA Moon to Mars Architecture art challenge sought creative images that represent the agency’s bold vision for crewed exploration of the lunar surface and the Red Planet. The agency has selected the recipients of the art challenge competition.
This collage features all the winners of the NASA Moon to Mars Architecture Art Challenge.Jimmy Catanzaro, Jean-Luc Sabourin, Irene Magi, Pavlo Kandyba, Antonella Di Cristofaro, Francesco Simone, Mia Nickell, Lux Bodell, Olivia De Grande, Sophie Duan The challenge, hosted by contractor yet2 through NASA’s Prizes, Challenges, and Crowdsourcing program, was open to artists from around the globe. Guidelines asked artists to consider NASA’s Moon to Mars Architecture development effort, which uses engineering processes to distil NASA’s Moon to Mars Objectives into the systems needed to accomplish them. NASA received 313 submissions from 22 U.S. states and 47 countries.
The architecture includes four segments of increasing complexity. For this competition, NASA sought artistic representations of the two furthest on the timeline: the Sustained Lunar Evolution segment and the Humans to Mars segment.
The Sustained Lunar Evolution segment is an open canvas for exploration of the Moon, embracing new ideas, systems, and partners to grow to a long-term presence on the lunar surface. Sustained lunar evolution means more astronauts on the Moon for longer periods of time, increased opportunities for science, and even the large-scale production of goods and services derived from lunar resources. It also means increased cooperation and collaboration with international partners and the aerospace industry to build a robust lunar economy. The Humans to Mars segment will see the first human missions to Mars, building on the lessons we learn from exploring the Moon. These early missions will focus on Martian exploration and establishing the foundation for a sustained Mars presence. NASA architects are examining a wide variety of options for transportation, habitation, power generation, utilization of Martian resources, scientific investigations, and more. Final judging for the competition took place at NASA’s annual Architecture Concept Review meeting. That review brought together agency leadership from NASA mission directorates, centers, and technical authorities to review the 2024 updates to the Moon to Mars Architecture. NASA selected the winning images below during that review:
Sustained Lunar Evolution Segment Winners
First Place:
Jimmy Catanzaro – Henderson, Nevada
Second Place:
Jean-Luc Sabourin – Ottawa, Canada
Third Place (Tie):
Irene Magi – Prato, Italy
Pavlo Kandyba – Kyiv, Ukraine
Humans to Mars Segment Winners
First Place (Tie):
Antonella Di Cristofaro – Chieti, Italy
Francesco Simone – Gatteo, Italy
Third Place:
Mia Nickell – Suwanee, Georgia
Under 18 Submission Winners
First Place:
Lux Bodell – Minnetonka, Minnesota
Second Place:
Olivia De Grande – Milan, Italy
Third Place:
Sophie Duan – Ponte Vedra, Florida
The NASA Tournament Lab, part of the Prizes, Challenges, and Crowdsourcing program in the Space Technology Mission Directorate, managed the challenge. The program supports global public competitions and crowdsourcing as tools to advance NASA research and development and other mission needs.
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By NASA
Curiosity Navigation Curiosity Home Mission Overview Where is Curiosity? Mission Updates Science Overview Instruments Highlights Exploration Goals News and Features Multimedia Curiosity Raw Images Images Videos Audio Mosaics More Resources Mars Missions Mars Sample Return Mars Perseverance Rover Mars Curiosity Rover MAVEN Mars Reconnaissance Orbiter Mars Odyssey More Mars Missions 3 min read
Sols 4447–4449: Looking Back at the Marker Band Valley
NASA’s Mars rover Curiosity captured this image of its workspace using the rover’s Rear Hazard Avoidance Camera (Rear Hazcam) on sol 4447 — or Martian day 4,447 of the Mars Science Laboratory mission — on Feb. 8, 2025, at 13:54:13 UTC. NASA/JPL-Caltech Earth planning date: Friday, Feb. 7, 2025
We are continuing our merry way alongside “Texoli” butte, heading toward the boxworks feature in the distance, our next major waypoint. This is a series of large-scale ridges, which appear from orbital data to be a complex fracture network.
Of course, we don’t actually expect to get there until late fall 2025, at the earliest. Our drives are long right now (the weekend plan has a 50-meter drive, or about 164 feet) but we are still taking the time to document all of the wonderful geology as we go, and not just speeding past all of the cool things!
As Conor mentioned in Wednesday’s blog, power is becoming a challenge right now. Those of us in the northern hemisphere might be thinking (eagerly anticipating!) about the return of Spring but Mars is heading into colder weather, meaning we need to use more power for warming up the rover. However, we are also in a very interesting cloud season (as Conor mentioned), so the environmental theme group (ENV) are keen to do lots of imaging right now. This means very careful planning and negotiating between ENV and the geology theme group (GEO) to make the most of the power we do have. Luckily, this plan has something for everyone.
The GEO group was handed a weekend workspace containing a jumble of rocks — some layered, some not. None of the rocks were very large but we were able to plan APXS and MAHLI on a brushed rock surface at “Aliso Canyon” and on a small, flat unbrushed target, “Bridge to Nowhere,” close to the rover. ChemCam will use the LIBS laser to shoot three bedrock targets, sampling regular bedrock at “Newcomb,” some cracked bedrock at “Devore” and some of the more layered material at “Rubio Canyon.” Mastcam will document the ChemCam LIBS targets. In addition to the cloud imaging, we have lots of other imaging in this plan. We are in position right now to look back down at the “Marker Band Valley,” which we first entered almost a thousand sols ago! Before we go too much further along the side of Texoli butte and lose sight of the Marker Band Valley for some time, both ChemCam and Mastcam will take advantage of this to image the Marker Band Valley and the “Marker Band.” Other images include ChemCam remote images of cap rocks in the distance and two Mastcams of near-field (i.e., close to the rover) troughs.
Written by Catherine O’Connell-Cooper, Planetary Geologist at University of New Brunswick
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Last Updated Feb 10, 2025 Related Terms
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By NASA
“Data visualization has recently exploded as a communication tool,” said Mark SubbaRao, information technology specialist and lead for NASA’s Scientific Visualization Studio. “As data becomes bigger and more complex, visualization becomes an even more important tool for understanding that data.”Rachel Connolly / Courtesy of Mark SubbaRao Name: Mark SubbaRao
Title: Lead, Scientific Visualization Studio (SVS)
Formal Job Classification: Information Technology Specialist
Organization: SVS, Science Mission Directorate (Code 606.4)
What do you do and what is most interesting about your role here at Goddard? How do you help support Goddard’s mission?
I have an amazing job. I get to work with all the most interesting NASA science and make it visual to help people can understand it. The Scientific Visualization Studio, the SVS, supports all of NASA and is located at Goddard.
What is your educational background?
I have B.S. in engineering physics, minor in astronomy, from Lehigh University in Bethlehem, Pennsylvania. I have a Ph.D. in astrophysics from Johns Hopkins University.
What is data visualization? How is it different from animation?
Data visualization is the graphical representation of actual data (in our case usually scientific data). At its most basic it takes the forms of charts, graphs, and maps. In contrast, conceptual animation, such as the work of our colleagues in the CI Lab, is the graphical representation of ideas. Conceptual animation and data visualization are both needed to communicate the full scientific process.
How did your work for the University of Chicago develop your interest in visualization?
I worked on software for the Sloan Digital Sky Survey, a project to create the biggest 3D map of the universe. Our goal was to map 3D positions of a million galaxies, which we did. My role was to develop the software to determine the distance to galaxies. To see the result we needed a way to see how the galaxies were distributed in 3D, which led to my interest in visualization.
Viewing this map, I felt like we had revealed a new world which no one had yet seen altogether. The desire to share that with the public led me a position at the Adler Planetarium in Chicago.
“Astrographics,” a video piece Mark SubbaRao produced for the Adler Planetarium, being projected on the Merchandise Mart on the Chicago riverfront.Michael SubbaRao / Courtesy of Mark SubbaRao How did planetariums evolve during your 18 years of working for the Adler Planetarium?
I led their visualization efforts for their Space Visualization Laboratory, a laboratory that was on the museum floor and had multiple specialized displays. The local scientific community used our laboratory to present to the public including other scientists and students.
I also produced planetarium shows and designed exhibits. My last project, “Astrographics” for Art on the Mart, was a 2.6-acre, outdoor projection onto a building near the Chicago River. We believe that this is the largest, permanent outdoor digital projection in the world.
I began to see the power of the planetarium as a data visualization environment. Traditionally, a planetarium has been a place to project stars and tell stories about constellations. Planetariums have now evolved into a general-purpose visualization platform to communicate science.
I got more involved with the planetarium community, which led to me becoming president of the International Planetarium Society. A major focus of my presidency was promoting planetariums in Africa.
Why did you come to NASA’s SVS at Goddard?
I came to Goddard in December 2020. I always admired NASA’s SVS and had used their products. I consider the SVS the preeminent group using scientific visualization for public communication.
I wanted to work on visualizations for a broader variety of sciences, in particular, climate science. Our group created visualizations for the United Nations Climate Conference (COP26) in Glasgow, Scotland, the fall of 2021. In March 2022, I created a visualization called Climate Spiral, which went viral.
This visualization shows monthly global temperature anomalies (changes from an average) between the years 1880 and 2021. Whites and blues indicate cooler temperatures, while oranges and reds show warmer temperatures.
Credits: NASA’s Goddard Space Flight Center / NASA’s Scientific Visualization Studio
Download high-resolution video and images from NASA’s Scientific Visualization Studio As the lead, how do you hope to inspire your group?
Our group is very talented, experienced, and self-motivated. Data visualization has recently exploded as a communication tool. Our goal is to continue to stay on top of this rapidly evolving field. Coupled with this, there has been an explosion in scientific data from satellites and super computers. As data becomes bigger and more complex, visualization becomes an even more important tool for understanding that data.
Karen St. Germain, NASA’s Director of Earth Science, presenting an SVS visualization of carbon dioxide to the 2021 United Nations Climate Change Conference in Glasgow, Scotland.
Download high-resolution video and images from NASA’s Scientific Visualization Studio: https://svs.gsfc.nasa.gov/31168NASA’s Goddard Space Flight Center / NASA’s Scientific Visualization Studio Your work combines art and science. What are the benefits of combining art and science?
One huge benefit is that you can reach people through an artistic visual presentation of science who may not be interested in simply reading an article. You can go beyond teaching people, you can move them emotionally through a good, artistic presentation.
For example, in “Climate Spiral,” we did not want to just inform people that global average temperatures have increased, we wanted people to feel that the temperature has increased.
Also, our universe is just beautiful. Why not let the beauty of the universe create something artistic for you? I sometimes feel like I cheat by letting the universe do my design for me.
What do you do for fun?
Since moving to Maryland, and living near the Chesapeake Bay, I have taken up stand up paddleboarding. I like to cook too. My father is Indian, so I cook a lot of Indian food.
Who inspires you?
Arthur C. Clarke, the science fiction writer, also wrote a lot of popular science. He played a big part in my decision to become a scientist.
Conversations With Goddard is a collection of Q&A profiles highlighting the breadth and depth of NASA’s Goddard Space Flight Center’s talented and diverse workforce. The Conversations have been published twice a month on average since May 2011. Read past editions on Goddard’s “Our People” webpage.
By Elizabeth M. Jarrell
NASA’s Goddard Space Flight Center, Greenbelt, Md.
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Last Updated Feb 10, 2025 EditorJessica EvansContactRob Garnerrob.garner@nasa.gov Related Terms
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