And we strive for..... what ?

Autotune devices have been around for a few years and like any piece of
hardware it can be used wisely or misused. As such it's a completely
neutral device. On recordings it's used extensively in country, urban
R&B and pop music areas. Interestingly enough, although it's use is
supposed to be non-detectable, producers have resorted to using
autotune as an effect unto itself (Cher's "Do You Believe").
Non-professional singers who learn to sing by copying current
commercial releases have actually started to incorporate the pitch jump
at the start of an "autotuned" note into their natural singing
style.

As far as studio recordings go the use of autotone type devices is NOT cheating. Musicians, producers and engineers are at liberty to use whatever technology at their disposal to further their shared musical vision. Technology (synthesizers, sequencers and MIDI programming) have made it possible to separate the ability to actual play an instrument to make music versus being able to program a computer to make music. Each requires an active musical imagination and each is a perfectly valid method of producing music.

In pop/rock recordings it is typical for a vocal or instrumental solo on the record to have never actually existed as a real performance in the first place. The vocalist might record six different lead vocal tracks. The producer and engineer will then "cut and paste" the best snippets of the six recordings into one composite vocal track. The final "comp" track is a performance that never really took place. If done correctly, the comp track is far superior to any of the individual tracks used to create it. Comping can be done in either the digital or analog domain. Is it cheating? The alternative is to have a performer who can perfectly perform their material. While that sounds attractive, in practice it usually doesn't result in great performances. Knowing that things can be fix later "in the mix" frequently gives musicians the cushion they need to just relax and let the music flow. The stretch out and try a few thinks that they might not if they didn't have their saftey net of studio tricks.

Zaikesman, it's interesting that 4 of 5 musical examples you picked are
multitrack studio creations. Do you really think the band members
stood in the same room and played the songs in real time? Don't be
naive.

The technology is completely nuetral and is simply a tool for getting the
musical vision in its final form. I think some of you are objecting to the
lack of a compelling musical vision/imagination and not the technology
employed. Musical taste may vary, but the following is a list of groups
that IMO have acheived musically satisfying results while making
extensive use of studio technology (EQ, compression, MIDI, synths,
sequencing, multitrack, overdubbing, comp tracks, samples, reverb,
etc.): Beatles, Paul Simon, Micheal Jackson/Quincy Jones, Blues Nile,
Steely Dan, Lauryn Hill, Pink Floyd, Led Zeppelin, Annie Lennox, Daniel
Lanois, Bjork, Bryan Ferry, Peter Gabriel, Radiohead, Miles Davis, Dwight
Yoakam, Joni Mitchell, Stevie Wonder, Rolling Stones, Seal and Frank
Zappa.

BTW, James Brown would fine his band members for every mistake they
made. There's a great concert video where the band is laying down a
groove and JB is doing his thing when suddenly James turns towards the
drummer and says "I caught ya'."