Growing up in the suburban town of Spring, Texas, just outside of Houston, Erik Ballesteros couldn’t help but be drawn in by the possibilities for humans in space.
It was the early 2000s, and NASA’s space shuttle program was the main transport for astronauts to the International Space Station (ISS). Ballesteros’ hometown was less than an hour from Johnson Space Center (JSC), where NASA’s mission control center and astronaut training facility are based. And as often as they could, he and his family would drive to JSC to check out the center’s public exhibits and presentations on human space exploration.
For Ballesteros, the highlight of these visits was always the tram tour, which brings visitors to JSC’s Astronaut Training Facility. There, the public can watch astronauts test out spaceflight prototypes and practice various operations in preparation for living and working on the International Space Station.
“It was a really inspiring place to be, and sometimes we would meet astronauts when they were doing signings,” he recalls. “I’d always see the gates where the astronauts would go back into the training facility, and I would think: One day I’ll be on the other side of that gate.”
Today, Ballesteros is a PhD student in mechanical engineering at MIT, and has already made good on his childhood goal. Before coming to MIT, he interned on multiple projects at JSC, working in the training facility to help test new spacesuit materials, portable life support systems, and a propulsion system for a prototype Mars rocket. He also helped train astronauts to operate the ISS’ emergency response systems.
Those early experiences steered him to MIT, where he hopes to make a more direct impact on human spaceflight. He and his advisor, Harry Asada, are building a system that will quite literally provide helping hands to future astronauts. The system, dubbed SuperLimbs, consists of a pair of wearable robotic arms that extend out from a backpack, similar to the fictional Inspector Gadget, or Doctor Octopus (“Doc Ock,” to comic book fans). Ballesteros and Asada are designing the robotic arms to be strong enough to lift an astronaut back up if they fall. The arms could also crab-walk around a spacecraft’s exterior as an astronaut inspects or makes repairs.
Ballesteros is collaborating with engineers at the NASA Jet Propulsion Laboratory to refine the design, which he plans to introduce to astronauts at JSC in the next year or two, for practical testing and user feedback. He says his time at MIT has helped him make connections across academia and in industry that have fueled his life and work.
“Success isn’t built by the actions of one, but rather it’s built on the shoulders of many,” Ballesteros says. “Connections — ones that you not just have, but maintain — are so vital to being able to open new doors and keep great ones open.”
Getting a jumpstart
Ballesteros didn’t always seek out those connections. As a kid, he counted down the minutes until the end of school, when he could go home to play video games and watch movies, “Star Wars” being a favorite. He also loved to create and had a talent for cosplay, tailoring intricate, life-like costumes inspired by cartoon and movie characters.
In high school, he took an introductory class in engineering that challenged students to build robots from kits, that they would then pit against each other, BattleBots-style. Ballesteros built a robotic ball that moved by shifting an internal weight, similar to Star Wars’ fictional, sphere-shaped BB-8.
“It was a good introduction, and I remember thinking, this engineering thing could be fun,” he says.
After graduating high school, Ballesteros attended the University of Texas at Austin, where he pursued a bachelor’s degree in aerospace engineering. What would typically be a four-year degree stretched into an eight-year period during which Ballesteros combined college with multiple work experiences, taking on internships at NASA and elsewhere.
In 2013, he interned at Lockheed Martin, where he contributed to various aspects of jet engine development. That experience unlocked a number of other aerospace opportunities. After a stint at NASA’s Kennedy Space Center, he went on to Johnson Space Center, where, as part of a co-op program called Pathways, he returned every spring or summer over the next five years, to intern in various departments across the center.
While the time at JSC gave him a huge amount of practical engineering experience, Ballesteros still wasn’t sure if it was the right fit. Along with his childhood fascination with astronauts and space, he had always loved cinema and the special effects that forged them. In 2018, he took a year off from the NASA Pathways program to intern at Disney, where he spent the spring semester working as a safety engineer, performing safety checks on Disney rides and attractions.
During this time, he got to know a few people in Imagineering — the research and development group that creates, designs, and builds rides, theme parks, and attractions. That summer, the group took him on as an intern, and he worked on the animatronics for upcoming rides, which involved translating certain scenes in a Disney movie into practical, safe, and functional scenes in an attraction.
“In animation, a lot of things they do are fantastical, and it was our job to find a way to make them real,” says Ballesteros, who loved every moment of the experience and hoped to be hired as an Imagineer after the internship came to an end. But he had one year left in his undergraduate degree and had to move on.
After graduating from UT Austin in December 2019, Ballesteros accepted a position at NASA’s Jet Propulsion Laboratory in Pasadena, California. He started at JPL in February of 2020, working on some last adjustments to the Mars Perseverance rover. After a few months during which JPL shifted to remote work during the Covid pandemic, Ballesteros was assigned to a project to develop a self-diagnosing spacecraft monitoring system. While working with that team, he met an engineer who was a former lecturer at MIT. As a practical suggestion, she nudged Ballesteros to consider pursuing a master’s degree, to add more value to his CV.
“She opened up the idea of going to grad school, which I hadn’t ever considered,” he says.
Full circle
In 2021, Ballesteros arrived at MIT to begin a master’s program in mechanical engineering. In interviewing with potential advisors, he immediately hit it off with Harry Asada, the Ford Professor of Enginering and director of the d’Arbeloff Laboratory for Information Systems and Technology. Years ago, Asada had pitched JPL an idea for wearable robotic arms to aid astronauts, which they quickly turned down. But Asada held onto the idea, and proposed that Ballesteros take it on as a feasibility study for his master’s thesis.
The project would require bringing a seemingly sci-fi idea into practical, functional form, for use by astronauts in future space missions. For Ballesteros, it was the perfect challenge. SuperLimbs became the focus of his master’s degree, which he earned in 2023. His initial plan was to return to industry, degree in hand. But he chose to stay at MIT to pursue a PhD, so that he could continue his work with SuperLimbs in an environment where he felt free to explore and try new things.
“MIT is like nerd Hogwarts,” he says. “One of the dreams I had as a kid was about the first day of school, and being able to build and be creative, and it was the happiest day of my life. And at MIT, I felt like that dream became reality.”
Ballesteros and Asada are now further developing SuperLimbs. The team recently re-pitched the idea to engineers at JPL, who reconsidered, and have since struck up a partnership to help test and refine the robot. In the next year or two, Ballesteros hopes to bring a fully functional, wearable design to Johnson Space Center, where astronauts can test it out in space-simulated settings.
In addition to his formal graduate work, Ballesteros has found a way to have a bit of Imagineer-like fun. He is a member of the MIT Robotics Team, which designs, builds, and runs robots in various competitions and challenges. Within this club, Ballesteros has formed a sub-club of sorts, called the Droid Builders, that aim to build animatronic droids from popular movies and franchises.
“I thought I could use what I learned from Imagineering and teach undergrads how to build robots from the ground up,” he says. “Now we’re building a full-scale WALL-E that could be fully autonomous. It’s cool to see everything come full circle.”
And thanks to a mention in Dan Brown’s new novel, The Secret of Secrets, the festival has gained even more global recognition. Just a few weeks after the release of Brown’s new bestseller set in contemporary Prague, viewers were able to see for themselves what drew the popular writer to the festival, which is the largest Czech and Central European showcase of digital art. In one passage, the Signal Festival has a cameo appearance when the novel’s protagonist recalls attending an event at the 2024 edition.
“We’re happy about it,” festival director Martin Pošta says about the mention. “It’s a kind of recognition.” Not that the event needed promotion, even in one of the most anticipated novels of recent years. The organizers have yet to share the number of visitors to the festival this year, but the four-day event typically attracts half a million visitors.
On the final day, there was a long queue in front of the monumental installation Tristan’s Ascension by American video art pioneer Bill Viola before it opened for the evening, even though it was a ticketed event. In the Church of St. Salvator in the Convent of St. Agnes, visitors could watch a Christ-like figure rise upwards, streams of water defying gravity along with him, all projected on a huge screen.
The festival premiere took place on the Vltava River near the Dvořák Embankment. Taiwan’s Peppercorns Interactive Media Art presented a projection on a cloud of mist called Tzolk’in Light. While creators of other light installations have to deal with the challenges of buildings—their irregular surfaces, decorative details, and awkward cornices—projecting onto water droplets is a challenge of a different kind with artists having to give up control over the resulting image. The shape and depth of the Peppercorns’ work depended on the wind at any given moment, which determined how much of the scene was revealed to viewers and how much simply blown away. The reward, however, was an extraordinary 3D spectacle reminiscent of a hologram—something that can’t be achieved with video projections on static and flat buildings.
Another premiere event was a projection on the tower of the Old Town Hall, created for the festival by the Italian studio mammasONica. It transformed the 230-foot structure into a kaleidoscope of blue, green, red, and white surfaces. A short distance away, on Republic Square, Peppercorns had another installation. On a circular LED installation, they projected a work entitled Between Mountains and Seas, which recounted the history of Taiwan.
Software development is associated with the idea of not reinventing the wheel, which means developers often select components or software libraries with pre-built functionality, rather than write code to achieve the same result.
There are many benefits of this approach. For example, a software component that is widely deployed is likely to have undergone extensive testing and debugging. It is considered tried and trusted, mature technology, unlike brand-new code, which has not been thoroughly debugged and may inadvertently introduce unknown cyber security issues into the business.
The Lego analogy is often used to describe how these components can be put together to build enterprise applications. Developers can draw on functionality made available through application programming interfaces (APIs), which provide programmatic access to software libraries and components.
Increasingly, in the age of data-driven applications and greater use of artificial intelligence (AI), API access to data sources is another Lego brick that developers can use to create new software applications. And just as is the case with a set of old-school Lego bricks, constructing the application from the numerous software components available is left to the creativity of the software developer.
A Lego template for application development
To take the Lego analogy a bit further, there are instructions, templates and pathways developers can be encouraged to follow to build enterprise software that complies with corporate policies.
A developer self-service platform provides a way for organisations to offer their developers almost pre-authorised assets, artefacts and tools that they can use to develop code Roy Illsley, Omdia
Roy Illsley, chief analyst, IT operations, at Omdia, defines an internal developer platform (IDP) as a developer self-service portal to access the tools and environments that the IT strategy has defined the organisation should standardise on. “A developer self-service platform provides a way for organisations to offer their developers almost pre-authorised assets, artefacts and tools that they can use to develop code,” he says.
The basic idea is to provide a governance framework with a suite of compliant tools. Bola Rotibi, chief of enterprise research at CCS Insight, says: “A developer self-service platform is really about trying to get a governance path.”
Rotibi regards the platform as “a golden path”, which provides developers who are not as skilled as more experienced colleagues a way to fast-track their work within a governance structure that allows them a certain degree of flexibility and creativity.
As to why offering flexibility to developers is an important consideration falls under the umbrella of developer experience and productivity. SnapLogic effectively provides modern middleware. It is used in digital transformation projects to connect disparate systems, and is now being repositioned for the age of agentic AI.
SnapLogic’s chief technology officer, Jeremiah Stone, says quite a few of the companies it has spoken to that identify as leaders in business transformation regard a developer portal offering self-service as something that goes hand-in-hand with digital infrastructure and AI-powered initiatives.
SnapLogic’s platform offers API management and service management, which manages the lifecycle of services, version control and documentation through a developer portal called the Dev Hub.
Stone says the capabilities of this platform extend from software developers to business technologists, and now AI users, who, he says, may be looking for a Model Context Protocol (MCP) endpoint.
Such know-how captured in a self-service developer portal enables users – whether they are software developers, or business users using low-code or no-code tooling – to connect AI with existing enterprise IT systems.
Enter Backstage
One platform that seems to have captured the minds of the developer community when it comes to developer self-service is Backstage. Having begun life internally at audio streaming site Spotify, Backstage is now an open source project managed by the Cloud Native Computing Foundation (CNCF).
While many teams that implemented Backstage assumed that it would be an easy, free addition to their DevOps practices, that isn’t always the case. Backstage can be complex and requires engineering expertise to assemble, build and deploy Christopher Condo and Lauren Alexander, Forrester
Pia Nilsson, senior director of engineering at the streaming service, says: “At Spotify, we’ve learned that enabling developer self-service begins with standardisation. Traditional centralised processes create bottlenecks, but complete decentralisation can lead to chaos. The key is finding the middle ground – standardisation through design, where automation and clear workflows replace manual oversight.”
Used by two million developers, Backstage is an open source framework for building internal developer portals. Nilsson says Backstage provides a single, consistent entry point for all development activities – tools, services, documentation and data. She says this means “developers can move quickly while staying aligned with organisational standards”.
Nilsson points out that standardising the fleet of components that comprise an enterprise technology stack is sometimes regarded as a large migration effort, moving everyone onto a single version or consolidating products into one. However, she says: “While that’s a critical part of standardising the fleet, it’s even more important to figure out the intrinsic motivator for the organisation to keep it streamlined and learn to ‘self-heal’ tech fragmentation.”
According to Nilsson, this is why it is important to integrate all in-house-built tools, as well as all the developer tools the business has purchased, in the same IDP. Doing so, she notes, makes it very easy to spot duplication. “Engineers will only use what they enjoy using, and we usually enjoy using the stuff we built ourselves because it’s exactly what we need,” she says.
The fact that Backstage is a framework is something IT leaders need to consider. In a recent blog post, Forrester analysts Christopher Condo and Lauren Alexander warned that most IDPs are frameworks that require assembly: “While many teams that implemented Backstage assumed that it would be an easy, free addition to their DevOps practices, that isn’t always the case. Backstage can be complex and requires engineering expertise to assemble, build and deploy.”
However, Forrester also notes that commercial IDP options are now available that include an orchestration layer on top of Backstage. These offer another option that may be a better fit for some organisations.
AI in an IDP
As well as the assembly organisations will need to carry out if they do not buy a commercial IDP, AI is revolutionising software development, and its impact needs to be taken into account in any decisions made around developer self-service and IDP.
Spotify’s Nilsson believes it is important for IT leaders to figure out how to support AI tooling usage in the most impactful way for their company.
“Today, there is both a risk to not leveraging enough AI tools or having it very unevenly spread across the company, as well as the risk that some teams give in to the vibes and release low-quality code to production,” she says.
According to Nilsson, this is why the IT team responsible for the IDP needs to drive up the adoption of these tools and evaluate the impact over time. “At Spotify, we drive broad AI adoption through education and hack weeks, which we promote through our product Skill Exchange. We also help engineers use context-aware agentic tools,” she adds.
Looking ahead
In terms of AI tooling, an example of how developer self-service could evolve is the direction of travel SAP looks to be taking with its Joule AI copilot tool.
When structure, automation and visibility are built into the developer experience, you replace bottlenecks with flow and create an environment where teams can innovate quickly, confidently and responsibly Pia Nilsson, Spotify
CCS Insights’ Rotibi believes the trend to integrate AI into developer tools and platforms is an area of opportunity for developer self-service platforms. Among the interesting topics Rotibi saw at the recent SAP TechEd conference in Berlin was the use of AI in SAP Joule.
SAP announced new AI assistants in Joule, which it said are able to coordinate multiple agents across workflows, departments and applications. According to SAP, these assistants plan, initiate and complete complex tasks spanning finance, supply chain, HR and beyond.
“SAP Joule is an AI interface. It’s a bit more than just a chatbot. It is also a workbench,” says Rotibi. Given that Joule has access to the SAP product suite, she notes that, as well as providing access, Joule understands the products. “It knows all the features and functions SAP has worked on, and, behind the scenes, uses the best data model to get the data points the user wants,” she says.
Recognising that enterprise software developers will want to build their own applications and create their own integration between different pieces of software, she says SAP Joule effectively plays the role of a developer self-service portal for the SAP product suite.
Besides what comes next with AI-powered functionality, there are numerous benefits in offering developer self-service to improve the overall developer experience, but there needs to be structure and standards.
Nilsson says: “When structure, automation and visibility are built into the developer experience, you replace bottlenecks with flow and create an environment where teams can innovate quickly, confidently and responsibly.”
First a confession: I own more MoonSwatches than I care to admit. Never let it be said that WIRED does not walk the walk when it comes to recommending products—Swatch has assiduously extracted a considerable amount of cash from me, all in $285 increments. This was no doubt the Swiss company’s dastardly plan all along, to lure us in, then, oh so gently, get watch fans hooked. The horological equivalent of boiling a frog. It’s worked, too—Swatch has, so far, netted hundreds of millions of dollars from MoonSwatch sales.
But while I’ve been a fan of the Omega X Swatch mashup since we reported on exactly how the hugely lucrative collaboration came to be in the first place, I have never liked the iterative Moonshine Gold versions. Employing a sliver of Omega’s exclusive 18K pale yellow gold alloy in marginally different ways on each design, they seemed almost cynical—a way of milking the MoonSwatch superfans on the hunt to complete the set.
A hidden Snoopy message on the Cold Moon’s dial is revealed under UV light.
Photograph: Courtesy of Swatch
The MoonSwatch comes with a rubber strap upgrade over the original launch models.
Photograph: Courtesy of Swatch
Now, though, just when I thought I was done with MoonSwatch—having gone as far as to upgrade all of mine with official $45 color-matching rubber straps—Swatch has managed to ensnare me once again, and with a Moonshine Gold model: the new MoonSwatch Mission To Earthphase Moonshine Gold Cold Moon.
Clumsy moniker aside, this version takes the all-white 2024 Snoopy model (WIRED’s top pick of the entire collection), mixes it with the Earthphase MoonSwatches, and replaces the inferior original strap for a superior white and blue Swatch rubber velcro one. Aesthetically, it’s definitely a win, but this is not the Cold Moon’s party trick.
On each $450 Cold Moon MoonSwatch, a snowflake is lasered onto its Moonshine Gold moon phase indicator—and, just like a real snowflake, Swatch claims each one will be completely unique. When you consider the volumes of MoonSwatches Swatch produces each year, this is no mean feat.
The unique golden snowflakes appear on the moon phase dial of the Cold Moon.