In addition, fixation locations depend on systematic tendencies that are common to eye movements in general (Tatler & Vincent,
2008). These systematic tendencies lead to spatial and directional biases in the selection of fixation locations. A well-known example is the central fixation bias during scene viewing (Tatler,
2007). On average, participants prefer to fixate near the center of an image rather than toward the periphery. The central fixation bias is strongest in the beginning of a trial and reaches an asymptotic level after a few fixations (Rothkegel, Trukenbrod, Schütt, Wichmann, & Engbert,
2017). Other systematic tendencies include the preference to generate positively skewed, long-tailed distributions of saccade amplitudes or the preference to execute saccades in the cardinal directions during scene viewing (Tatler & Vincent,
2008). The later effect is shaped by image features and varies systematically with the perceived horizon. Tilting an image results in an equally tilted distribution of saccade directions (Foulsham & Kingstone,
2010; Foulsham, Kingstone, & Underwood,
2008). In addition, observers tend to make saccades in the same direction as the preceding saccade (cf. saccadic momentum) and a large number of fixations bring the eyes back to the last or penultimate fixation location (cf. facilitation of return; Smith & Henderson,
2009; Wilming, Harst, Schmidt, & König,
2013). Finally, inhibition of return is believed to facilitate exploration during visual search (Klein & MacInnes,
1999) and has been suggested as a mechanism to drive attention during scene perception (Itti & Koch,
2001). Inhibition of return during scene perception seems to primarily prolong fixation durations before return saccades to previously fixated locations (Hooge, Over, van Wezel, & Frens,
2005; Smith & Henderson,
2009) and seems to shape spatial dynamics of scanpaths in the long run (Rothkegel, Trukenbrod, Schütt, Wichmann, & Engbert,
2016). Adding systematic tendencies to saliency models further improves their predictions (Le Meur & Liu,
2015).