I think that this article is an example of a phenomenon wherein we subconsciously associate the flaws and artifacts of the medium with the medium itself -- and once those flaws and artifacts are removed, yielding a more accurate reproduction of the world or the artist's vision, we get the sense that something is missing and consider the result to be of lower quality rather than higher. Examples abound:

* You will never, ever get an old rockist audiophile to admit that digital formats yield better results than vinyl. To them, vinyl sounds better -- "richer, warmer", more like you're actually there listening to the band. One such person of my acquaintance went on about "fat synths" that CDs couldn't reproduce. Let alone the fact that physical properties of vinyl prevent records from having the dynamic range of uncompressed digital music on the first playthrough, let alone after the needle has worn imprecisions into those grooves. Let alone the fact that almost no band sounds live the way they do in a recording because you can't control the acoustic properties of a concert hall the way you can in a studio, or mix tracks or adjust the relative mix of various parts in quite the same way.

* In cinema, someone else mentioned the idea, beloved among cinemaphiles and even directors like Quentin Tarantino, that only 24fps celluloid with grain and scratches counts as "real film" and everything else looks "lifeless".

* In video games, there is the phenomenon of CRT purism. Some of this is justified; developers have been able to achieve color and transparency effects on CRTs that haven't translated well to LCDs without additional filtering. I also understand that the lower latency of CRTs improved the situation for e.g. fighting or light gun games. But mostly, the "truer image" people associate with CRTs were artifacts of grotty TVs and, specifically, NTSC composite video signals. A new arcade machine of the era would use a top-quality CRT engineered to deliver the crispest possible image -- closer to the LCD or OLED displays of today than to the smearfests of home systems played on spare TVs. And if you lived in Europe and could play on a PAL or, better yet, SCART set, many of those artifacts went away there as well.

* Oddly enough, no one seems to miss VHS tracking artifacts. But they are used for effect, to signify an aesthetic associated with a particular time and place, as in for example the game Katana Zero or the Local 58 YouTube channel. I guess that's what we should be aiming for here: the "richer sound", the NTSC color effects, the film grain, and the camera aberration can be used as tools to shape the audience's experience and evoke a time or mood. I just wish that people were honest about what they were doing, and not be all like "old good, new bad". I like having high-quality Opus rips and sharp LCD monitors.