Right now we need computers for the communication networking they offer.

very interesting PDF about 2012 mechanics.

.......to increase our capacity to meet the potential future demand, and to presently act as a channel for synchronicity to trigger the awakening and empowerment of others.

I'm wondering how to get out of a tech dependency? I'm very enmeshed in it.

It's one thing to recognize it's poison and point out it's bad, but I'm still confused on what to really do about it.

I think both the technological and metaphysical parts are related, the first serving the latter as part of some greater plan.

We Are On The Threshold,
Crossing It Right Now
Meeting Our Own Shadow
Merging With The Light Descending
The Earth Is Giving Birth To A Sun

It is no longer possible to divide the four-dimensional continuum objectively in intersections that separately contains simultaneous events. The concept of ‘now’ loses its objective meaning for the spatially extended world.

By shifting things from their existence in three-dimensional space over into the sphere of planes, painting invests them with a new existence in a new space. In this space the inner human being expresses itself as the outer. The outer world, however, becomes ensouled, becomes an inner experience. Time becomes space.

Thus when, out of cosmic space, the Christ-Spirit enters into the heart, then, brought to rest, the Spirit of Separateness (Lucifer) is freed from his imprisonment in the world and becomes pure Holy Spirit. So color can have a healing and salutary effect.

Parsifal's space is an imaginary space, the time in which Parsifal takes place is an imaginary time. As soon as space appears, past and future time become the present. Light creates space, changing light is changing time.

Time and space in Wagner
compilation by Kristian Evensen
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www.trell.org/wagner/time.html

Parsifal:
Ich schreite kaum, -
doch wähn' ich mich schon weit.
Parsifal:
I hardly tread,-
though it seems I already have come far.

Gurnemanz:
Du sieh'st, mein Sohn,
zum Raum wird hier die Zeit.
Gurnemanz:
You see, my son,
here time becomes space.

[Parsifal, Act 1]

These words, spoken by Gurnemanz to the hero in the first act of Parsifal, while the scene changes before the eyes of the spectators, are probably the most profound definition that anyone has ever offered for myth.

[Claude Lévi-Strauss: The View from Afar
1983, eng. ed. 1985]

  [...] Dies ist gemeint, wenn man sagt, die Zeit der klassischen Mechanik ist absolut. Gemäss der speziellen Relativitätstheorie ist es anders. [...] This is the meaning when one says that time is an absolute concept in the classical mechanics. According to the theory of special relativity, however, things are different. 
[...] Das vierdimensionale Kontinuum zerfällt nun nicht mehr objektiv in Schnitte, welche alle gleichzeitigen events enthalten; das "Jetzt" verliert für die räumlich ausgedehnte Welt seine objektive Bedeutung. Damit hängt es zusammen, dass man Raum und Zeit objektiv unaufl ¶sbar als vierdimensionales Kontinuum auffassen muss [...]. [...] It is no longer possible to divide the fourdimensional contiunuum objectively in intersections that seperately contains simultaneous events. The concept of "now" loses its objective meaning for the spacially extended world. It is in this connection one has to see space and time as an objectively undividable four-dimensional continuum. 
[...] Da es in diesem vierdimensionalen Gebilde keine Schnitte mehr gibt, welche das "Jeztz" objektiv repräsentieren, wird der Begriff des Geschehens und Werdens zwar nicht v ¶llig aufgehoben, aber doch kompliziert. Es erscheint deshalb natürlicher, das physikalisch Reale als eine vierdimensionalen Sein zu denken statt bisher als das Werden eines dreidimensionales Seins. [...] Since in this four-dimensional structure there no longer exists any cross-sections that objectively will represent "now", the concept of happening and becoming are to be sure not completely abandoned, but are now more complicated. It seems therefore more natural to conceive the physical reality as a four-dimensional existence rather than as until now the becoming of a three-dimensional existence. 
[Albert Einstein:  Å“ber die spezielle und die allgemeine Relativitätstheorie
Braunschweig 1988 (1.ed 1916),
translated by Kristian Evensen]

 
If Wagner is accepted as the undeniable originator of the structural analysis of myths (and even of folk tales, as in Die Meistersinger), it is a profoundly significant fact that the analysis was made, in the first instance, in music. Therefore, when I suggested that the analysis of myths was comparable with that of a major musical score, I was only drawing the logical conclusion from Wagner's discovery that the structure of myths can be revealed through a musical score. [...]

[...] this relation to time is of a rather special nature: it is as if music and mythology needed time only in order to deny it. Both, indeed, are instruments for the obliteration of time.

[...] Because of the internal organization of the musical work, the act of listening to it immobilizes passing time; it catches and enfolds it as one catches and enfolds a cloth flapping in the wind. It follows that by listening to music, and while we are listening to it, we enter into a kind of immortality.

[Claude Lévi-Strauss: The Raw and the Cooked
1964]

page 143, 144] "If you were able to bring your heart to a standstill, you would soon see what is within you," Dr. Steiner said to one of the painters. The heart of a person, which no longer experiences sorrow and pleasure for its own sake, but knows that feeling is the herald of spiritual facts, becomes an organ for the new art of painting. When the light of day-consciousness penetrates into the darkness of the world of will, the human being, through the essential color experience in his own soul, also experiences inwardly the colors of outer nature. Darkness lightened to blue, light dulled to red, proclaims to him in the realm of nature the "origin of things, the deeds of the gods." "Art is akin to death," Dr. Steiner said on one occasion. "Like death, it removes Maya and reveals 'being'." Set free from the weight of the evolved world into the realm of the evolving-living, color redeems the dead world through the art of painting. By shifting things from their existence in three-dimensional space over into the sphere of planes, painting invests them with a new existence in a new space. In this space the inner human being expresses itself as the outer. The outer world, however, becomes ensouled, becomes an inner experience. Time becomes space. The spiritual light of Lucifer and the heavy darkness of Ahriman become color in Christ.

Do you personally know anyone who has an aversion for strong colors? Chances are that person has a Luciferic personality -- has a penchant for moralizing, is attached to some religious dogma, and is a lover of flights of fancy. Here Steiner explains how this comes about.

[page 144] "Color is the revenge of the gods against Lucifer," Dr. Steiner said to me on one occasion, during a conversation about my work with regard to the healing force of painting. It was only later that the meaning of these words became comprehensible to me. The Lightbearer, who locks up his light in the glow of passion, in a wealth of shades of feeling, within the individual experiences of the human heart, is purified through the objective experience of color and offered to the world. Thus when, out of cosmic space, the Christ-Spirit enters into the heart, then, brought to rest, the Spirit of Separateness (Lucifer) is freed from his imprisonment in the world and becomes pure Holy Spirit. So color can have a healing and salutary effect. (It is for this reason that oftentimes luciferic people have an antipathy for strong colors.)

Parsifal in Time and Space
ere, time becomes space. One of Wagner's most often quoted statements, enigmatic, baffling. In what space, what time, is Parsifal set? In the northern mountains of Gothic Spain, in the chivalric Middle Ages, in Arab Spain? Yes, if we interpret the letter, not the spirit, of the information Wagner gives. Parsifal's space is an imaginary space, the time in which Parsifal takes place is an imaginary time. As soon as space appears, past and future time become the present. Light creates space, changing light is changing time.

he scene of events is surrounded and enclosed by vertical objects of a crystalline structure. Crystal, a formation from the dawn of nature, with its transparent, natural tone, is capable of absorbing light and colour and is brought to light by light -- coloured light. Light is life. This life is brought by light out of the vast, cosmic night of the universe.

he acting area in Parsifal is a labyrinth, the basis and bedrock of our existence. The labyrinth neutralizes space and time, and is itself space and time. The problem is to find the right access; then the path leads to the central point, the end of the labyrinth and its new point of departure. Each of us creates that central point or objective as his personal solution. Titurel places the altar in the centre as a sanctum for the Grail, Klingsor creates an imitation of that sanctum, which to him possesses equal significance, for Kundry to appear in. Parsifal picks up the spear, holding it horizontally, i.e. non-aggressively, and thus turns the sacred spear, which has been misused as a weapon, back into a holy relic. That is the form in which he brings it back into the temple.

he sacred spring also flows in the centre, a theatrical translation of what Wagner, in Act II, calls the source of salvation for which Kundry and the Knights of the Grail all yearn: what Friedrich H ¶lderlin calls the sacred, sober water that not only washes away guilt but soothes, purifies and allays ecstasy and longing.

n contrast to crystal, a changeable material, the temple is rigid and abstract in design, and the light within it is calculated, not natural. The Grail must only shine for an esoteric elect in a confined space. The temple's monumental architecture cites architectonic elements from various cultural epochs: Assyro-Babylonia, the ziggurat motif, echoes of Mexican Aztec cult sites and of post-Modernist architecture. Architectural metaphors are a principle and instrument of authority, also associated with prisons and barracks. Monumental architecture has always been mausoleum and funerary architecture as well: the monument as an expression of the desire for perenniality and eternal life. This is Titurel's original sin, his betrayal of the living Grail idea. He misconstrues his function and guards the Grail by hiding it away, walling it in, reserving it for an élitist clique, appropriating it to himself and legitimising his claim to God's grace by using the Grail as an adjunct to magical, mysterious ceremonies. The tormented Amfortas longs to die, but Titurel, as ossified as his own conception of the Grail, wishes to obtain eternal life by means of that symbol of life. He creeps around the temple and withdraws to his government bunker. A cruel, unseen giver of orders, he mercilessly compels Amfortas to fulfil his office because he has no wish to renounce his life-prolonging drug, the Grail's sacred bliss.

patial and ideological limitation go hand in hand, and the final outcome is a demand for asceticism as a principle of hostility to life. This finds metaphorical expression in absolute discipline as the governing principle of the Temple of the Grail, in the paramilitary drill of regimentation, in the apotheosis of depersonalisation and deindividualisation as an aid to ideological intimidation. Stiff, aloof and unintelligible, remote from life and absolutely unsensual, the knights celebrate their ritual in their ascetic, hermetic manner, without reference to the outside world and life out there, whatever its nature. They are incapable of compassion, of love, of all that the Grail, a symbol of life and salvation, stands for. These Knights of the Grail should really inspire the pity which they themselves can no longer summon up for their king. Obsessed with their ownership of the Grail, they stare dully at the sacred chalice, which glows under their mesmerized, stupefied gaze. Like Titurel, they seek ecstasy and longevity, not salvation...

[Acts: The Autobiography of Wolfgang Wagner, pages 225-227]