What do we hear when we change the direction of a wire?

Douglas Self wrote a devastating article about audio anomalies back in 1988. With all the necessary knowledge and measuring tools, he did not detect any supposedly audible changes in the electrical signal. Self and his colleagues were sure that they had proved the absence of anomalies in audio, but over the past 30 years, audio anomalies have not disappeared anywhere, at the same time the authority of science in the field of audio has increasingly become questioned. It's hard to believe, but science still cannot clearly answer the question of what electricity is and what sound is! (see article by A.J.Essien).

For your information: to make sure that no potentially audible changes in the electrical signal occur when we apply any "audio magic" to our gear, no super equipment is needed. The smallest step-change in amplitude that can be detected by ear is about 0.3dB for a pure tone. In more realistic situations it is 0.5 to 1.0dB'". This is about a 10% change. (Harris J.D.). At medium volume, the voltage amplitude at the output of the amplifier is approximately 10 volts, which means that the smallest audible difference in sound will be noticeable when the output voltage changes to 1 volt. Such an error is impossible not to notice even using a conventional voltmeter, but Self and his colleagues performed much more accurate measurements, including ones made directly on the music signal using Baxandall subtraction technique - they found no error even at this highest level.

As a result, we are faced with an apparently unsolvable problem: those of us who do not hear the sound of wires, relying on the authority of scientists, claim that audio anomalies are BS. However, people who confidently perceive this component of sound are forced to make another, the only possible conclusion in this situation: the electrical and acoustic signals contain some additional signal(s) that are still unknown to science, and which we perceive with a certain sixth sense.

If there are no electrical changes in the signal, then there are no acoustic changes, respectively, hearing does not participate in the perception of anomalies. What other options can there be?

If measurements are the be all end all, then why do the top audio designers all do listening tests?
No serious designer in audio trust ONLY measurements and nothing else...They trust their ears at the end ...

The opposite impression is a stupid idea communicated by some technocultists or Skeptic club pseudo-scientist who are not also artist and craftsman...

"Most" audio designers or engineers are also artist that listen to test their creation....They love music not "accurate sound by the numbers on a dial"...

Good onesĀ  use both. They go back and forth. Some design for a certain sound they know it wonā€™t measure great others strive for great sound and measurements.
I agree with Dow Jones (shocking!).

As for me, I certainly expect the manufacturers to use instrumentation and measurements. Dah! Just as I expect them to use ears. Be it themselves, or ā€œgolden earsā€, professionals who they can hire. At the end of the day, what they can come up with as a final product, can either be good, period, or tailored to their preferences in sound, whatever that is. Thatā€™s why trying for ourselves, in our own room preferably, is of paramount importanceĀ 
A general response on how to answer this question, not personal to any of the commenters:

Most people want digested explanations presented to them and want to put in 0% effort to prove or disprove claims with their own effort. (Take all, give nothing.)To get a meaningful answer to any question in audio we need to put in effort and legwork.
Interestingly, the changes in the sound associated with the replacement and orientation of the wires can be recorded and played back. After digitizing, the difference will not be heard as clearly as in live, but the nature of several consecutive changes will already be recognizable and based on the recordings, you can track how much you have progressed in setting up your system or, conversely, how much you have been led away somewhere. The recording allows you to repeatedly return to the evaluation of the results and eliminates the influence of momentary deviations in perception related to mood, health, fatigue, etc.

Serious changes in the recording system, when you orient every wire, including the mains wiring in the room and select every detail of the system by ear, lead to a fairly noticeable difference in sound. For example, the violin, the most sensitive instrument to recording and playback errors, becomes more flexible, begins to SING more expressively, and the intelligibility of the individual instruments in the group improves. Here I can give a lot of examples, for instance, Grappelli's violin in its usual form sounds sharp, Django's guitar is lost in its background.
The 78 record gives us a completely different impression - the violin sings and at the same time does not obscure the guitar, which, as it turns out, can also sing if it is in the brilliant hands of Django.
The frequency response in the recordings is quite different and this is the first thing that catches your ears. If you listen to the recording for at least 30 seconds, this difference ceases to interfere with the evaluation of the musical properties of the recordings.

When tuning up a system for digitization, almost always subjectively positive changes in the sound occur against the background of deterioration in technical characteristics caused by the rejection of the negative feedback, the use of imperfect homemade radio components (capacitors, resistors and coils), ancient triodes, and so on. As a result, we have a completely illogical situation: the most important moments for the perception of music are improved, while the technical characteristics of the system are deteriorated.

A question I've been asking myself for years - how can this be, if the technical (electrical) characteristics determine everything?