Ethnographic Museum in Belgrade, in addition to museum collections, possesses digitized collections of photo negatives and images. Usually, negatives and images were taken during of curators’ field researches. Predominant motifsof images are scenes from the life of the rural population: jobs in the household, farming, animal husbandry, crafts, annual celebrations, rituals and ceremonies, weddings. One of the digitized image collections is semantically annotated by sets of metatags: title, description, keywords, location, author, date of creation and corresponding categories. Semantic annotation is applied using: Dublin Core Schema, UNESCO Thesaurus and CIDOC Conceptual Reference Model. Technical processed and semantically annotated images are ready to be inserted into the Museum Information System’s database.Semantic images annotation was a part of a project that was realized in the Ethnographic Museum in Belgrade. The aim of the project was linkage museum objects with a collection of photo negatives and images. The project’s object was semantic images annotation the Collection of Petar Ž. Petrović. The collection includes about 1,200 images, created during the period of 1923-1937. A motive of the project comes from the fact that acquisitions of museum objects extract them from their natural and functional surroundings. During the scientific and expert processing, museum professionals partially establish connections to their environment data. Better results can be achieved if they use the same standards and vocabularies: for processing museum objects and also, for processing image collections. Concept of applying the same standards and vocabularies proves its strength in searching data about museum objects. Corresponding results to search terms are data about some museum objects, and in addition, results contain a list of images which possibly can explain its natural and functional surroundings. It is important toemphasize that images from a resulting list are not images of the unique museum object, included in the museum collection. Images and objects are connected exactly by terms from used vocabularies. This approach did it possible to represent contexts of more than one museum objects, only by one image and vice versa: native class of museum objects could be presented by more than one image. For example, the context of a museum object "ceramic pot" could be explained and interpreted by images where motives are: making a pot ("ceramic round", "crafts"), using a pot ("jobs in the household", "preparing food"), functional roles in the household ("kitchen utensils", "pottery").Uniformity and consistency of semantic images annotation could be achieved if the image collection is processed as a whole, by establishing uniform subject criteria. Comparing results with objectives of the project, we realized that the applied concept of using the same standards and vocabularies, for annotating images and describing museum objects, contribute to comprehensive understanding and interpretation of environmental context of museum objects. Petar Ž. Petrović’s image collection was a sufficiently representative sample. Therefore, it is possible to conclude that the applied concept can be used for semantic annotation of any other image collection in order to semantically link images and objects from the fund of the Ethnographic Museum in Belgrade.

In the Educational Museum in Belgrade there is a collection of nine scrapbooks, which are from the first half of the twentieth century. As albums` of friendship scrapbooks point the certain movement in society. They are recorded youthful thinking, sincere feelings, but also the misconceptions, stereotypes and unconditional acceptance of finished forms of behavior. It seems to us that, with scrapbooks, adults wanted to impose religious and social norms, to create personal and social identity.

The 19th century iconostasis of the destroyed Serbian Orthodox church in Buda represents one of the finest masterpieces by the Serbian painter ArsenijeTeodorovic. After the church was demolished in 1949, assorted icons and carved wood fragments were rescued and taken to the Serbian Church Museum in Szentendre, Hungary. In 2013, the conservation project which covered documentation, reassembling of the original pieces, conservation and restoration of icons and models of presentation inside the museum was set up. Due to its size, it would be impossible to display the iconostasis in its original form. This presented an opportunity to apply new technologies to preserve these unique heritage artifacts by digital reproduction such as virtual 3D visualization (which comprises 3D digitization, geometrical reconstruction and artistic presentation of the real object). The challenges include creating 3D models of curved icons, reconstructing the missing pieces of woodcarving and, following the completion of the conservation work, considering suitable display options for the purposes of a permanent museum exhibition. The paper presents strategies for resolving the identified problems and a detailed explanation of the applied 3D digitization method based on close range photogrammetry and demonstrated on the example of curved icons. As part of the 3D digitization task, the emphasis will be on data acquisition approaches and image processing methods. Geometric reconstruction will focus on refining the obtained polygonal models to achieve the final model of desired accuracy. This will also include an analysis of issues associated with parts assembling, primarily related to the missing details and damaged edges. Subsequently, possible approaches for virtual model accuracy verification will also be explored. Finally, issues surrounding the preservation of cultural heritage will be discussed, as well as the presentation solutions for the iconostasis’ final museum destination.

In the paper has been described digitalization of Serbian heritage in the village called Osredak, which belongs to municipality Cazin in Bosnia and Hercegovina. Not so long ago most of the residents in Osredak were Serbian nationality, but today only one family resides there. Digitalization has included the church of Saints Peter and Paul, the Tetraevangelion from the 19th century and head gravestones at the orthodox cemetery, which represent the historical evidence that the Serbian people existed on that territory.

Electronic publishing of astronomical institutions and societies from Serbia in the second part of 2013 and 2015 is described and analysed.

This paper presents the first phase of the project activities within the project "Digitarijum: Applying digitization of cultural and scientific heritage in school education" realized in cooperation with primary school "Dr Archibald Reiss" in Belgrade. The authors provide a model for the improvement of teaching and educational work in primary schools involving students and teachers of primary schools in the process of digitization of cultural and scientific heritage. Results and interest of participants supports the authors’ stand that the introduction of multidisciplinary knowledge and new technologies in teaching and educational work motivates participants to take an active role and responsibility in education and personal development.

Documenting cultural heritage in interactive 3D format is becoming more and more affordable, easy-to-obtain and implement procedure. Not so long ago, there could be heard voices complaining the lack of full accuracy tests of the automated procedures for extracting 3D data from imagery (1) - and presently we are seeing numerous, tested and actively used solutions, that can even be overly simple for use, although the latter is depending on the eye of the observer and specific needs and portfolio of an individual/project. Furthermore, as the methods have become widely available, an important question is presented: how justified it is to invest effort and funds into the creation and storage of 3D models and collection of datasets, if a limited area of use is intended. Or to ask it more directly, is it really necessary, and what else can be made out of these collections, besides presentation material and snapshots-in-time of a given feature. The paper will present an effort to offer additional meaning to photogrammetric data acquisition in archaeology, apart from it being an advanced documentation system. We tested different approaches in monitoring the state of preservation of an important Neolithic household structure, using SFM workflow combined with an active 3D scanner to evaluate conservation procedures performed on it. The structure is located in a dynamic background of multilayered archaeological site Belo Brdo in Vin?a, which is undergoing its latest phase of field research, spanning from 1998 up to present.

Physical accessibility of public buildings in Serbia is regulated by a series of laws and by-laws that are not being fully implemented. Contents of institutions therefore remain inaccessible for persons with disabilities, that make up about 10% of the population. However, the presentation of cultural heritage is no longer determined by space in which it is exposed, physical presence at the exhibition or the number of exhibits that may be displayed. Through digital technology it is possible to bridge the physical inaccessibility. The only condition is to take into account the reduction of the digital gap between those for whom digital technology is available to those to whom it is not. When we talk about people with disabilities, this effect has cumulative effect. This population is already marginalized because of a physical barriers due to poverty, poor education and general social status and digital technology is not accessible to them. The modern development of information and communication technology made digital content available to the general society in a growing number of devices and with the support of a growing number of software and applications. During the digitization of cultural heritage, it is necessary to take into account standards of universal design and universal access, and to provide availability of the digitized materials to persons with disabilities.

In its historical context, avant-garde movements represent a wide range of cultural and artistic practices which aimed to introduce new modes of identity that could overcome social, political, national and other differences in the European space, at the time of the socio-political crisis related to the First World War. However, it is often said that many, essentially avant-garde techniques and strategies had become an indistinguishable part of the contemporary popular and mass culture (art, media and advertising, film, theatre); thus, losing their critical edge and intention to foster people’s individual personalities and truly critical, international cooperation. Therefore, a new research into the avant-garde should be based on the attempt to revisit and revise the historical context, looking for some less known avant-garde practices, in order to assess and transform current trends in the affirmation of the European cultural heritage and promotion of Europeanism. Within the avant-garde itself, there is a significant segment of production that has been overlooked and neglected by scholars, educators and cultural institutions – women’s artistic and cultural work. The research project (working title “Women’s avant-garde / Women in avant-garde”) will attempt to “uncover” the role and significance of the female authors during the period 1905–1939, to investigate how women participated in the international avant-garde events, how they collaborated at various levels (local, regional, national, etc.) and throughout Europe, establishing new models of aesthetic, cultural and political activism. The research would specifically emphasize the historical and contemporary importance of the women’s avant-garde legacy of multilingualism, the ways in which the avant-garde multilingualism corresponds with language/culture politics in Europe. Also, the research will show the significance of the gender aspect in the avant-garde movements and how this gender perspective helps in revising and reaffirming core cultural values of the avant-garde (internationalism, Europeanism, individualism, antimilitarism, productive criticism of socio-political institutions). Following the multidisciplinary and multimedia nature of the avant-garde itself, the project would include scholars from various disciplines, representatives of different cultural institutions (museums, galleries and other centres…), IT experts and people that are particularly engaged in the digital humanities, educators and contemporary artists or artistic groups. Having in mind that cultural heritage and values are at the heart of our capability to overcome the current EU crisis, the results of this research project –disseminated through workshops, conferences, printed publications and digital databases – will present a new historical perspective on the less known part of the avant-garde production: women’s work. Furthermore, by critically revising the contemporary understanding of the historical avant-garde movements, and uncovering new data on the role of women, this research will offer a deeper understanding of what “truly European identity” should mean, and an innovative approach to establishing new, synergetic models of collective cultural memories.

Serbian scientists. Awards are classified in accordance with the areas in which Milanković had achievements. Most of this honors are also presented in his Digital Legacy, an Internet site of the Faculty of Mathematics in Belgrade.