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dBlue Glitch is one way of doing it. In order to get good use out of it you have to pick out some good probabilities and a good pattern and let it run for a while, then splice the parts that turned out well and discard the ones that didn't. Then you generally do some additional processing to make it sound slightly different from the other 10,000 people playing with dG. It's a good lazy-man's glitch.
Maybe BT and Hybrid have some sooper seekrit plugins that sound about 50 times better than that - they do use Kyma and other math-music plugins so it's a bit more like writing a computer program than tweaking an effect in that case. Otherwise it's done by hand, where you have much greater control.
Once you get the hang of it it's not that hard or time-consuming. I've been meaning to post a tutorial with a few examples, it's just a little difficult planning it because in reality there's so much experimentation involved. And I obviously don't claim to do it anywhere near as good as BT or Hybrid, but as has been said before, you really don't want to be using them as the yardstick of your own success.
What it all comes down to is just picking the element or elements that you want stutter or glitch, splicing them out into an audio track, quantizing them and repeating them. The only real difference between a stutter and a glitch is the size of the audio chunk (i.e. the quantization window). Then you use ring modulators, phasers, flangers, distortion, and other plugins to "treat" individual pieces in the repeated sequence, followed by some delay, reverb, and envelopes to soften it up and humanize it. Often you'll use an automation on some or all of these plugins as well.
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