There is some debate about whether the Waldstein really is a precedent, since Beethoven didn't mark it as a gliss, but a "pro" argument is that Czerny was his pupil and included it in one of his sets of exercises, so there must have been some
precedent for that.
Beethoven fingered each octave 5-1, and his fingerings are rare and significant, so that presumably meant something
- though it's not obvious what.
Given that Beethoven was demonstrably "arithmetically challenged" you could make an argument that the previous pp passage of triplets is actually notated at double the speed it's supposed to be played, and there's then no need for glissandos if that continues at about the same tempo as the last movement (especially if you note it is marked Allegretto moderato
)), with another accel to prestissimo at the end.
Argerich just plays octaves - and not as fast as she can
play octaves, either.
Just for amusement, there is a novel "diagonal" notation of a couple of chords on the previous page of the first edition which is actually the reverse
of Beethoven's manuscript, where they slope downwards not upwards. Isn't musicology fun?