I can call it "The New Yorker Article" because a lot of people have read it and, in the weaving world, know exactly what I mean. Written by Richard Preston, it gives a great in-depth portrait of what it is like to find the other dimensions of tapestry. People in the Middle Ages and early Renaissance came to know these other dimensions -- tapestry simply does not stay flat on the wall. If tapestry DID stay flat on the wall people would think something was wrong.
Thank heavens for a good writer. He has a website with a lot of information. Here's a quote from him about writing:
Accuracy of detail is supremely important in writing. When I’m researching a book, I conduct large numbers of in-depth interviews with people, and I also try to experience their lives and work. Typically I “over-interview”—that is, I conduct too many interviews. I end up with as many as 60 notebooks full of material, and I’m unable to use much of it, but it’s like fishing, and I’m somehow able to land a few big fish.As far as I can tell, he didn't miss any details with regards to tapestry in writing the above article. Some confusion appeared over his "weft runs vertical" comment -- but for anyone who views a tapestry that is exactly what it does.
Think of me as fervently hoping for more articles like this to appear in the world. And I might end up with a big smile on my face when they do.