“Take a familiar piece of technology and do something unfamiliar with it” – thus Nick Briz explained a basic formula for Glitch Art in one of his famous hypermedia essays that attempted to introduce then new form of digital art activism which exploded in 2010s. But this formula is not new to many artists who had been disrupting the normative uses of the technology, like early avant-garde artists in the 1920s, experimental filmmakers of the 1960s or early video artists of the 1970s.