Another way to consider a self-similar meter is that it's akin to a mode in music—as I understand it from playing buzuki improvisations (taqsim)—or how Bebop players generally improvise over jazz chords.
You can play whatever notes you want as long as they're, say, in the Dorian mode, or as long as they're in the same scales as the chords you're playing over.
Whereas iambic pentameter is akin to a fixed drum beat or melody, a modal (or self-similar) meter allows for a variability in the repetition of sound, as long as it remains within a specific parameter.
In this way the modal meter >.667—which restricts linguistic repetition in relation to total syllables—is akin to a musical scale.
As long as 67 repetitions are present per every 100 syllables, then you're in sync—just like as long as you're playing the white keys you're technically improvising in C Major.
The specific sequence is up to the player/writer.
