And this is the reason why it's hard to collocate glitch art somewhere in space and time. A damaged microSD slowly destroying its content, the result of a software that is manipulating unsupported files, an old camera lens whose glass deterioration causes flows and imperfections are only some of the possibilities. The more years pass, the more you can analyze and notice primordial examples of glitch art looking back in time (multiple exposure photography and scratched, painted films are examples of tools that were being used in an unconventional way - glitch art before glitch art existed as a concept).And the more years pass, the more you can see new opportunities to create glitches coming up (artificial intelligence will certainly offer infinite new possibilities).Analog or digital, hardware or software, emulation, voluntary research or accidental luck: there is no limit to the exploration. At the time of writing, there are some well-established categories that compose the main core of glitch aesthetics: • circuitbending, one of the first purely glitch techniques, which is the result of hardware modifications of video synths, cameras, videogame consoles and any other electronic device you can think about; • databending and datamoshing, which consists of software manipulation of visual files using applications like Audacity, Avidemux, FFmpeg; • degradation of memory support systems of all kinds (VHS tapes, SD cards, dvds...) • analog or digital video feedback, the creation of visual loops using analog video synths or computer programs like OBS; • glitch aesthetic emulation through conventional graphics and video editing softwares; • and many, many more: a lot of people from all around our planet are constantly doing new experiments driven by the curiosity to dig into this philosophy that is destined to grow and mix past, present and future times. For glitch cult this is not only art, this is not only a visual interpretation of reality, but a way to experience life itself.