In this article, Betancourt argues why Digital TV Dinner(1978) can be regarded as the first glitch-art video. An important motive for the author's claims is found in the fact that the artists of Digital TV Dinner emphasize the performative over - and against - anything explicitly programmed in their work (i.e., the works do not result from the application of software, it is a record of a technical failure). The author emphasizes the professional background and experience of the artists involved, and also paints a picture of the California avant-garde media art scene at the time, including the influence of psychedelics in the creation of many media works.