Because that is not accurate.
Also, the low stuff is not unintended artifacts, they happen in real life all the time and many movies contain them. If you record real life effects you will get the full bandwidth, real life bandwidth, within your movie. If a mixer excludes them it is his opinion on what he wants but not what was truly on the recording. Whether one wants it all or not is up to the individual.
The question becomes what SPL is your goal here.
I don't understand the "because". Do you simply mean "that is not accurate?" I.e. that a corner loaded horn doesn't couple low frequencies better to a listening space over a direct radiator? I'd love any links or sites to learn more.
Second, I don't think anyone (at least on this thread) has contended ultra low frequencies do not purposefully (or even inadvertently) exist in recordings...or that any mixer excludes them.
The only contentions really are (that I'm are of, anyway):
1. Are they heard/felt in a meaningful regard?
2. For every 100 films and ~10,000 minutes of media how many are spent in the sub 10hz range?
I myself have now bore witness to two systems with "reference level" 10 and 7hz playback with a few scenes known to contain the freq's and I have to say that I wasn't terribly impressed...great bass elsewhere though, absolutely!
To each, their own, but sometimes this stuff reeks of specmanship and juvenile spl contests to me.
Ha ha, this coming from a guy looking at an OS...but then I'll have a 9,000 ^3 space to fill and even I like reference level bass.
Maybe when I was 16, lmao.