Abstract
The author revisits the Oedipus in its complex and group dimension, and the possible saturating and inhibiting effects of grafting the virtual into the imaginary dimension of the primary scene. The idea of ​​the family as protective container isolated from the social is only an idealization of the child and of the first Freud, who however later perceives the group aspects of the Oedipus and considers the primary scene to be an original phantoms that mediates between history and structure. The group aspects of the Oedipus are revisited through the conceptions of Bion and Bollas, while the concept of primary scene is extended to the concept of emotional field in which the child lives from birth and placed in relation to the concept of original phantoms. It is at this primitive and undifferentiated level that the primary scene performs its work of suturing the originary and that the concepts of obscenality and topical transference can meet with Bion’s proto-mental theory and field concept. The primary scene, as an imaginary referent and a phantom on the origin, is the most suitable primordial scheme to perform a suture work with the archaic, and to act as organizer of the development of the emotional field and of the self of the child. In fact, the primary scene mediates between Oedipus and the group, between the imaginary and the archaic, between the real and the virtual, and it is rooted directly in the primary ambiguity, in the psycho-somatic indifferentiation and in the intersubjective plot. The new media, the virtual/real confusion are therefore not harmful in themselves, but they can become harmful when the parental mediation fails, and the child is left alone in front of an omnipotent and unfiltered source of images that takes on the value of a, infinite and continuous primary scene, which sutures the archaic, grafting a monstrous and meaningless imaginary, which displaces the child from any possibile transformation.

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