The internet sometimes spooks me.  Your words can literally come back to haunt you!  I subscribe to Google Alerts to find out what people say about me (call me vain or paranoid, it is useful!), and today and alert about an article mentioning me came up, so I went to it and found the abstract ot a talk I gave to the Textile Society of America in New York in 1998, when, if I remember rightly, I was asked to speak about making textile things.  I should note that I was practically schooled to understand that weaving was plenty old fashioned (or call me paranoid!).  Here is the abstract.  As for the talk, it was probably ad-libbed, used slides, and if I stored it on the computer at all that was a few crashes ago.

Making It the “Old-Fashioned Way”

“It is tempting to consider the process I am about to describe as the result of a point of view which is subjective and maybe even romantic. Although the adjective “old fashioned” as used in the title carries a certain amount of ironic wit, in fact my method of weaving is ancient and timeless. I chose it because it is the only way I can adequately convey the majority of my ideas about the textile world. I also work this way because I love the process itself I have tailored my ideas, and risked hobbling them, in order to continue to indulge in a way of working that suits me eminently.
I weave objects which I call tapestries, although technically they are compound twill fabrics with images composed of discontinuous inlaid wefts. The structure is a three harness twill; the ground is warp-faced and the inlaid areas are weft-faced. I selected the structure after studying the three-harness twill tapestry of Kashmiri shawls. The structure confers the ability to express acutely refined detail while yielding the drape necessary for a shawl’s function. I adapted the weave to an inlay structure in order to economize on the time spent in weaving. In fact, I weave quite rapidly as a result, often more than 12″ a day. I am also able to exploit both warp and weft as design elements. The sett of my warp is relatively fine, 30 epi, which gives the work good detail and yet is a large enough scale to be able to see easily the interaction of colors between individual threads.”

And here is a detail of something I was weaving around that time.

detail, “Pear Tree”, 1996 hand woven textile