  But, how have folks African and of African descent been figured in the expressive practices and products, and in the theorizings of such aesthetic ventures, produced, in both cases, by folks not Black? Robert Gooding-Williams is but one of several philosophers of African descent who probes these questions in his Look, A Negro! Philosophical Essays on Race, Culture and Politics (2006), a collection of essays connected, he notes, by his persistent effort to explore whether it is possible to interpret race in ways that would be in keeping with what is required in political and cultural life if the United States as a polity were to become actually structured by democratic principles and practices while adult citizens fully acknowledge the history and continuing legacies of White racial supremacy that have structured the polity from its inception. In the chapter on “Aesthetics and Receptivity: Kant, Nietzsche, Cavell, and Astaire,” for example, Gooding-Williams rehearses accounts of aesthetic experiences by the canonic figures Kant (re: “aesthetic judgment”) and Nietzsche (re: embodied sensibilities) in preparation for a critical reading and assessment of the philosopher Stanley Cavell’s aesthetic reading of how the dancer Fred Astaire is rendered in a particular movie in which he stars (The Band Wagon) as the focal character who is able/enabled to reclaim himself (i.e., make a “comeback”) as a star dancer. What Gooding-Williams lifts up is Cavell’s failure to see that the Astaire-character is enabled by a Black male character who, in shining Astaire’s shoes, transfers to Astaire and his feet a restoration of rhythmic capabilities by way of the rhythms the Black shoeshine-man articulates while brushing the Astaire-character’s shoes and polishing them with his shine-rag. All of which presumes something (on the part of the film-maker; so, too, Cavell, though differently...) about the embodiment of enabling aesthetic capabilities of particular kinds in the being of the Black character representative of the culturally-inflected raciality of Black people.