Synthetic Eros explores the possibility of embodying pleasure and play via algorithms into digital sculpture. Instead of seeing an algorithm, or a parametric design software Grasshopper as a tool, the artist approaches the work as a collaborative practice in which algorithms have their interpretative freedom and form of expression. This work is directly related to the third chapter of the written component which explores the role of the artist in the age of distributed intelligence. The first series of sculptures are produced by recording a heart-beat of a sentient being that is being translated into a surface, capturing and expressing relative excitement of the person. Each sculpture is printed in both two and three dimensions. The orthogonal views are printed as photographs, while 3D objects are printed either with a 3D printer or carved out by the robotic arm. Depending on which process is used, the sculpture is created either by additive (3D printing) or subtractive (carving out by a robot arm) process and thus build a different relationship to classic or analogue sculpture. In the second series, the galvanic skin response was used to create folds from lines, and thus embody the arousal of the sentient being in the creation of the sculpture. Placed as a diptych, one below the other, two prints, which topologically are two dimensional, reveal the fractal dimension of the sculpture, that is larger than two dimensions, but still not a 3D object. They convey the embodied (and fractal) excitement through the algorithm that folds the lines into curves and evokes an eroticism of the form.