In this direction, when pomes the eyes in its History and it we take foot, we fascinate ourselves, our feelings as our reason is seduced same to the default, and in such a way, that what Freud said on Paris the first mind in relation to the city comes them it Greek and, only later Paris or to another city any. That is, the following phrase of Freud: ' ' Also Paris, per many years, it are object of my desires; the feeling of happiness with that I put the foot, for the first time, in the streets, seemed a guarantee of that other desires would be realizados' '. The city Greek, therefore, if presents thus, as ' ' model par excellence, origin and paradigma' ' , not as an image of the thought, but as an image of the unconscious one, the desire, with its layers superece of fishes, its tracks and ruins, its skeletons and ghosts. That is, in its material structure, the city (the Greek, but also ours) would not have to be a chaotic accumulation of houses and buildings, of streets and squares, but a set ideally commanded, whose streets would confluiriam for the main squares, where if would raise the great buildings destined to the religious cult and the exercise of the power politician. The city Greek is, therefore, ' ' model par excellence, the origin and the paradigm, of democra-cia' ' , therefore our utopias are old and routes, our hopes are vain and aborted and Greece it is the mirage and the fantasmagoria of ours modern and liquid subjective city. Exactly because, as the beautiful analysis of Walter Benjamin, if the man inhabits a real city, it he is, at the same time, inhabited for a dream city, that is, as Peter the PAL Pelbart observes, ' ' The onrica reality sends to the collective dream here, to the dream of the collective one, the desire of the collective body, its aborted utopias and hopes, the mirages and fantasmagorias assediam that it.