Are we cool yet? Is an artistic movement existing on the fringes of the International Avant-Garde, with roots in the early surrealist art movements of the late 19th and early 20th century, and the growing scientific understanding and study of the anomalous that began to develop during that time? The movement has no centralized leadership, no headquarters, very future traditions or conventions, and no official membership roles or requirements. The only thing one need to do to call oneself a member is to make art that employs exploits or revolves around anomalous objects, beings, or phenomena. The organization of an Arbicole has sailed varies wildly from place to place. Many groups are organized in a small salon led by a creative mastermind or a professional critic. While others are collective with no clear leader, and some members prefer to work entirely on their own. In the opinions of some, it is not even necessary to note the movement exists in order to be a part of it. The tendency of some such groups to reduce highly visible public artworks that cause death, injury, or lasting psychological harm has led some to decry the entire movement as a bunch of art terrorists, a label some with members were reprired, some repudiate entirely, and somewhere ironically. The largest and most visible gathering of Arbicole at artists in any place or time is some new Stavina's magnifiques. A grant exhibition held every ten years since 1874, at which those in the know can gather to view and scrutinize a selection of some of the finest works in anomalous art produced over the previous decade. To have a work accepted is considered, by those who care about such things, to be one of the greatest achievements an artist can attain in a career, and members of cells around the world petition to have their works displayed.