When the experience of this process as aptly unifying means and ends absorbs one's appreciative attention, either as actor or as observer, it has aesthetic value.
The challenge of the modern day is to consider how work, and human activity generally, can be reformed so that it has aesthetic value and is thus no longer valued merely instrumentally (EN 277 8, 307 8).
Here you don't need to aim to get in place a picture or sculpture that has aesthetic value; it is a process that is given to you for self-expression to bring a positive change, healing and personal growth.
To say that a work of art is aesthetically good or has aesthetic value is one thing; to say that it is morally good or has a capacity to influence people so as to make them morally better is another.
Indeed most everything written on aesthetic experience since the Beardsley-Dickie debate has been written in service of the view that an object has aesthetic value insofar as it affords valuable experience when correctly perceived.
Babysitting for other children, having nieces and nephews or much younger siblings all of these can be wonderful (or horrible) experiences, but they are different in kind from having a child of your very own, perhaps roughly analogous to the way an original artwork has aesthetic value partly because of its origins...
Thus, some African art has value as entertainment; some has political or ideological significance; some is instrumental in a ritual context; and some has aesthetic value in itself.
Leave aside any doubts you might have about whether paintings can be good in a world without viewers, and accept for the sake of argument that this painting has aesthetic value in that world.
If art does not aim at having aesthetic value, what, one might argue, will set it apart from non-art?
The repair job, too, can have aesthetic value to the extent that one experiences it as a unified, smoothly unfolding process, beginning with an astute assessment of the required operations, leading to the skilled, fluid, unfrustrated execution of these operations, and ending with what is appraised and prized as a successful conclusion--the object experienced as satisfactorily repaired.
Both the term and the concept are modeled on the objet trouvé (French: "found object"), an artifact not created as art or a natural object that is held to have aesthetic value when taken out of its context.
