The phrase "aesthetic sources" is correct and usable in written English.
It can be used when referring to origins or inspirations related to beauty, art, or design in various contexts, such as art criticism, design discussions, or academic writing.
Example: "The artist drew from various aesthetic sources to create a unique blend of styles in her latest work."
Alternatives: "artistic influences" or "design inspirations".
I'm missing the gene, too, that would persuade me to care about the psychic and aesthetic source material many video games draw on, including Tolkien, "Star Wars," "Dune" and Dungeons & Dragons.
In so doing an approach that upholds the primacy of the optic as an aesthetic source of insight; whilst paying attention to the subjective 'I' of those who seek to understand learners and themselves.
Complicity by non-aesthetic sources was required for the success of this film.
For the purposes of the class, poems will be considered not as ideological constructs or forms of cultural production, but as aesthetic artifacts, sources of readerly pleasure and enlightenment.
Wainwright is not a man to shy away from pretension – and after six studio albums, he is now at the stage of his career where he can count on an adoring audience to accept this wholly as an integral part of his aesthetic, the source of his talents as well as his indulgences.
"Sadly, our descendants will also have to do without the aesthetic pleasures and sources of imagination provided by our only known living counterparts in the universe," said Ehrlich.
Mr. Theroux has a white-enameled hood from an old stove, rescued from the Puck Building, on one wall; domesticity here is more an aesthetic than a source of food.
This doesn't mean that there's no room for the little guy, the small developer, the open source aesthetic, the impulse to contribute to the community.
"It must be personal, that's what we're looking for," commented the director Ridley Scott, in a videoclip about this project to take the aesthetic of crowd-sourcing to the limit.
Hence the dual origin (or source) of aesthetic experience: the first is what he calls the fullness (Fülle) of the formal relations among the parts of a true work of art, while the second is derived from the properties of the object or, more precisely, the state of affairs.
