The Effect
According to simple emission theory, light thrown off by an object should move at a speed of with respect to the emitting object. If there are no complicating dragging effects, the light would then be expected to move at this same speed until it eventually reached an observer. For an object moving directly towards (or away from) the observer at metres per second, this light would then be expected to still be travelling at ( or ) metres per second at the time it reached us.
In 1913, Willem de Sitter argued that if this was true, a star in a double-star system would usually have an orbit that caused it to have alternating approach and recession velocities, and light emitted from different parts of the orbital path would then travel towards us at different speeds. For a nearby star with a small orbital velocity (or whose orbital plane was almost perpendicular to our line of view) this might merely make the star's orbit seem erratic, but for a sufficient combination of orbital speed and distance (and inclination), the "fast" light given off during approach would be able to catch up with and even overtake "slow" light emitted earlier during a recessional part of the star's orbit, and the star would present an image that was scrambled and out of sequence. That is, Kepler's laws of motion would apparently be violated for a distant observer.
De Sitter made a study of double stars and found no cases where the stars' images appeared scrambled. Since the total flight-time difference between "fast" and "slow" lightsignals would be expected to scale linearly with distance in simple emission theory, and the study would (statistically) have included stars with a reasonable spread of distances and orbital speeds and orientations, deSitter concluded that the effect should have been seen if the model was correct, and its absence meant that the emission theory was almost certainly wrong.
Read more about this topic: De Sitter Double Star Experiment
Famous quotes containing the word effect:
“Worldly faces never look so worldly as at a funeral. They have the same effect of grating incongruity as the sound of a coarse voice breaking the solemn silence of night.”
—George Eliot [Mary Ann (or Marian)
“An actor must communicate his author’s given message—comedy, tragedy, serio- comedy; then comes his unique moment, as he is confronted by the looked-for, yet at times unexpected, reaction of the audience. This split second is his; he is in command of his medium; the effect vanishes into thin air; but that moment has a power all its own and, like power in any form, is stimulating and alluring.”
—Eleanor Robson Belmont (1878–1979)