What are (some of) the ultimate implications of this theory?

Low-level musical information encompasses the widest possible array of musical sounds;

01 | March | 2008 | Wonder of the World - thebookmann

All of these electronic components are imperfect and "enemies" of music, though all of them are also unfortunately necessary for the reproduction of music using modern technology. In short, the less energy (or "influence") required from "outside sources" (electronic components), the higher the quality of total energy created by the system, everything else being equal. It's the classic "quantity versus quality" compromise and quandary.

Here's another viewpoint of "involving". An  wrote to me, in his own words:

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To "complete" this topic; The second most important element is "immediacy". This is the quality of sound that actually places the performers in your own "presence". Both of these qualities are necessary for the sound to come across as totally "real" and "alive".

I want to discuss the (now rare) "half-empty" approach of evaluating components.

The ubiquitous use of superlatives, the rule today in audio "reviews", is not accurate, useful or honest enough for the serious audiophile. In the end, as the performance of a growing number of outstanding components approaches practical perfection, their remaining flaws become increasingly critical when distinguishing these components from each other. Superlatives, on their own, are useless, unless the writer's real goal is to make even more "friends", instead of elucidating important differences, let alone taking an actual public position between them.

Posted by Jake on May 23, 1998 A reading of the opening of Jaws ..

So, what would I do myself, if I ever encounter such a component? I would confidently state that, objectively speaking, the perfect component was . All the usual superlatives would be inherently useless, and even misleading because of their relative nature. In fact...

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This presents us with a dilemma. We tend to use only superlatives when we experience components of excellence, but "perfection" is beyond "excellence", and no superlative can adequately describe an audio component, or anything else, with no imperfections. The superlatives that I frequently use myself, such as "superb", "outstanding" and even "great" etc., just don't do a perfect component justice. This is even more true when considering you are describing a perfect component as objectively as possible.

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We've always had "interpreters" between us and the original musical source, and all of them have had varying degrees of "character". So the idea of no longer having any interpreter may appear, at first, to be a potentially boring scenario. Almost like cooking with (or worse, drinking) distilled water instead of a nice wine. There's one crucial difference of course, the original musical source is all you will need, or will ever want, when it is finally heard, .

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Unfortunately, we know all too well that "perfection" does not currently exist. In fact, it may never be reached, but we can, and should, still consider its theoretical implications. This is because using this line of thinking can help us better evaluate the performance of our existing (and imperfect) components. How? Adopting the unique viewpoint of "Perfection", even if it's only in our imagination, forces a person to elevate their common, day-to-day perspective.

Steven Spielberg: The Auteur – Mickey Richards

Ultimately, the original recording is all we have, or will ever have, and accordingly, the default "pure and perfect source". Nothing can ever be better than allowing that recording, alone, and without any changes, to "do all the talking". Just as in the practice of Medicine, the First Rule in Audio is: "To do no harm". This means seeking out and choosing components that "get out of the way" of the music.