Phenomenological attention to the things themselves, in itself problematic, forces us to make two reversal (and conversion) impossible in the visual metaphor: appeal to the one who returns to the things themselves, and rush to the conditions of his ability. An even greater difficulty is that the phenomenologist loses the support of an obvious natural attitude. With a severity that reaches the limits of reasonable, these problems are posed in post-phenomenology. The new book by the Russian phenomenologist Anna Yampolskaya allows not only to understand how the philosophical approaches of the representatives of French post-phenomenology relate, but, above all, to see how the phenomenological thought lives. Intersections between modern continental philosophical thought and the originally understood legacy of the theorists of Russian formalism, analytical philosophy, various psychological schools and even medieval patristics are found and built on the material, or on the „flesh“, of the subjectivity of the reader and the author himself. Given that medieval practices come from classical and Hellenistic ancient thought, the author demonstrates the unity of philosophy for two and a half thousand years, the unity in the search for a „new life“. For this the Russian phenomenologist turned to art and to the interpretation of sensory experience and creative practice. The significance of esthesis and praxis was understood broadly and paradigmally: from the analogy with philosophizing to the model and even philosophizing itself. According to the strongest interpretation, it is no longer the artist who teaches the philosopher, but the philosopher-phenomenologist is recognized as a greater artist than a painter, architect or poet. Anna Yampolskaya’s book is extremely relevant, it talks about contemporary life of phenomenological thought in the history of philosophy, and shows it as an approximation to „eternal life“ (not only in a narrowly theological sense) thanks to the philosophical mindset. As a research monograph, but first of all as an independent statement of a contemporary phenomenologist, “The Art of Phenomenology” helps to re-pose the question: how and why does a philosopher turn himself into an instrument of knowledge?